Wed 09

Med Dew Dims is an 8hr Nocturnal broadcast, where poems have been granulated and then played, and self-generated, and passed through 8 M4L Devices (created to interpret chemical properties of 8 mediums - Bromine, Mercury, Glycerine, Gold, Olive Oil, Iron, Alcohol, and Sulphuric Acid), to come together  as a non-cooperative movement towards the scarcities imposed upon by ensuing (mis)managements, a movement to be able to attain a sense of timelessness in our practice through pandemic, overwhelming panic and crisis, and an act of watering the basic instincts of sonic translations amidst incapable whispers of ‘not being able to help’.

Pratyush Pushkar and Riya Raagini aka BaRiya is an independent emerging Trans-disciplinary Artist duo from New Delhi, India. Navigating disorientedly (poetically) BaRiya assume art as an organ to dissolve-dwell through the remains of marginalized spirituality, create a vocal consensus with nature, meditate all through the gender spectrum, and probe (quantum) compulsions: while acknowledging truthfully the binary and racial barriers questioning intimate spiritual inventions.
 
bariyastudio.com 

1. Cinzia Nistico - One Dimension and a Half (5:21)
2. Zhon-Zhon Sandyr - Odovala (2:50)
3. Marjorie Van Halteren - Can’t Draw Can’t Paint (4:49)
4. Yati Durant - Quiet Cities 2: Edinburgh Leith/Walk of Leith 4pm 07.05.2020 (6:04)
5. Agapi Zarda - Whith.In.Radio ( 5:36)
6. Johnny Dixon - Was this helpful Part 1 (10:03)
7. Ilaria Boffa & Mark Vernon - Nexotica (7:50)
8. Isabella Rahme - Flux (I, II & III) (8:59)
9. Doriane SouilhoL - she blew into (5:11)

1. Cinzia Nistico -  One Dimension and a Half Episode 3

For full details see listing for Shorts 1 Monday 7th February 8am.

Cinzia Nistico: voice/music/script/field recording    Igor Iofe: trumpet
cinzia-nistico.com

2. Zhon-Zhon Sandyr - Odovala

Here is a preview of the sound installation, which I consider an independent work.
Odovala is a radio art project dedicated to the Udmurt sound epic, which is being created here and now. A total sound installation consisting of recordings collected in endless ethnofuturistic expeditions. The frequency adjustment knob wanders along the receiver's scale, and each time the listener finds himself in different places of "Inner Udmurtia". At the same time, everyone has the opportunity to create their own unique sound performance, to hear their own version of the Udmurt epic.
Zhon-Zhon Sandyr - from Udmurtia, Russia director of a mobile radio station, ethnofuturist, performance maker, video artist, sound artist

http://emnoyumno.ru       https://soundcloud.com/ethnostalking
 
3. Marjorie Van Halteren – Can’t Draw Can’t Paint
 
Why I make what I make. 4 short pieces from an album I have been creating called “From My Lips to Odd Ears.” The concept behind these works is that they are nearly entirely created from my own voice as electronic impulses, including synthesised short melodies from spoken phrases, some brut playing (such as on harmonica) and all manner of effects. Other sounds are “found,” such as news broadcasts.

Marjorie Van Halteren was born in Detroit, and lived for many years in New York City, where she was a poet, radio producer/director and commissioner of radio dramas and spoken word for WNYC Radio. She relocated to the North of France in the 1990’s, and has evolved into an electroacoustic composer and live improvisor. She sometimes broadcasts live from her Lille apartment on http://www.www.mixlr.com/eaps.   http://www.electroacousticalpoeticalsociety.com.

4. Yati Durant - Quiet Cities 2: Edinburgh Leith/Water of Leith 4pm 07.05.2020

Quiet Cities are live improvised sound art visualised field recordings from Edinburgh Leith/Water of Leith, UK at 4pm on May 5th 2020. The field recordings have been electronically altered slightly and each of them are different. “I walked around during a lockdown afternoon in May 2020 with my stereo field microphone. The city sounded strange to me…so quiet and subdued. These are free improvisations on the impressions I had at the time…”

http://www.yatidurant.com/

5. Agapi Zarda - Whith.In.Radio

Whith.In.Radio constitutes an experimentation to create a sound composition, using as a basic material fragment of improvised sounds that I was searching in my room during the quarantine (Covid-19) period. I was experimenting with radio sounds, and I used them as the composition’s structural sound element. I also used a DIY rudimentary circuit bent and kalimba. The basic idea of the sound work was to compose with the most familiar audible outcome of this medium (radio), which is the sound of the frequency band for FM radio.  

Agapi Zarda is graduate from the School of Physical Education and Sport Science, (University of Athens) with specialty in “Orchesis/Creative Dance”. She is also holding a degree on Early Childhood Education, (University of Thessaly, Volos) focusing on Creative Music in Education. Due to her interest in creative and collaborative music/sound practices and in electroacoustic and soundscape composition, she continued her studies by attending the MA course “Sonic Arts and Audio Technologies”, (Ionian University 2020-21). Her main instrument is the trumpet, and she practices free improvisation.
 
https://soundcloud.com/user-496834453

6. Johnny Dixon - Was this helpful Part 1 
 
7. Ilaria Boffa & Mark Vernon –Nexotica

Ilaria Boffa is an Italian poet. She has published three poetry collections and she is one of the eight authors included in the North East American Association publication ‘Writing in a Different Language’ Vol XL 2018. Over the last years, she has been experimenting with field recording, blending her spoken words with sounds. 
 
Sonopoetry Works: https://soundcloud.com/ilaria_boffa Latest Publication: About Sounds About Us, 2019, book of poems: http://www.samueleeditore.it/about-sounds-about-us-ilaria-boffa/

http://www.meagreresource.com

8. Isabella Rahme - flux

This work is an exploration of various techniques on the pedal harp, specifically the electroacoustic pedal harp with its defining feature of individual pick-ups on all 47 strings. All the sounds explored in each movement are derived from recordings of the electroacoustic harp. The name “flux” is a tribute to harpist and composer Carlos Salzedo, known for his expansion of modern harp techniques. His approach to the instrument was one full of new techniques and soundworlds, which is something this exploration of new electroacoustic capabilities also aims to do.

Isabella Rahme is an emerging harpist and composer based in Sydney, Australia, currently undertaking her Bachelor of Music (Composition) at the Sydney Conservatorium of Music. She has written for choirs and ensembles, electroacoustic music, and for animation. Her compositional style utilises both functional harmonic language and non-functional tonality, combining lyrical and avant-garde elements in a way that is contemplative and emotional."

9. Doriane Souilhol - She blew into

How to tell Lizzy Mercier Descloux?
This is an in love cut – up and spoken word about this peculiar figure.

Doriane Souilhol (b. 1981) lives and works in Marseille. She is conducting research around the notion of desire, attempting to approach the way in which it "takes shape" at the origin in the process of thought, dream, creation ...
This occurs into a careful exploration of the materiality of image and language.
Her proposals are shaped into installations, sculptures, videos, images and editorial projects. Her recent works open up to the practice of performance which involves voice and sounds.

Stories of radical land ownership in North Lewis is a project produced in collaboration with artist Virginia Hutchison, that brings together narratives surrounding the community land buyout of the Galson Estate in 2007. Developed in conversation with artists Stephen Hurrel and Fiona Rennie, the project weaves together local audio archives and interviews and brings them into contemporary conversations surrounding community land ownership.

LisaMaclean talks about placemaking, land use and the management of community owned estates. Underpinning the interviews are recitals of the Gaelic place-names that define Ballantrushall, in collaboration with Fiona Rennie, and Seismic Sounds, produced by Stephen Hurrel.

Lisa Maclean was the Chief Executive of the Galson Estate Trust from 2010 – 2021, and was formative in establishing ‘Community Land Outer Hebrides’, a body of community trusts located throughout the Western Isles.

Full project info:

Produced in collaboration with artist Virginia Hutchison this project brings together narratives surrounding the community land buyout of the Galson Estate in 2007. Created during the COVID pandemic in 2020/2021 the project weaves together local audio archives and interviews and brings them into contemporary conversations surrounding community land ownership. With access and social distancing measures in mind the project has taken the form of a series of cast bronze artefacts temporarily sited in the landscape of North Lewis. Embedded with digital QR codes the artefacts link visitors directly to the audio works via mobile phone.

Each of the six objects – a series of cast bronze artworks moulded from cut peat – contain conversations recorded with members of the local community. Two out of six of the artworks remain open as audio project spaces for future conversations.

“If you didn’t know the names of these places you couldn’t talk about them..”

Underpinning the interviews are recitals of the Gaelic place-names that define North Lewis. A gentle call and response between Gaelic and English - though not a direct translation - through the landscape, geography and history of the area.

Looking out onto the Barvas moor visitors can be mistaken for thinking that it is an empty landscape. But listening closely to the Gaelic expressions used to describe the environment of North Lewis gives a sense of the intimate and complex relationship between people and place. A language embedded within local culture and knowledge and not always translatable.

“Space doesn’t become a place until you interact with it. It doesn’t become a place until you name it…and it becomes a place in relation to somewhere or something else..ie. it’s always changing.”

Permeating the voices within the audio works are recordings made from the constant movements and tectonic shifts beneath the Earth’s surface. Produced by artist Stephen Hurrel, the seismic sounds provide layers to the stories and issues that surround engagement with the landscape. Hurrel’s work with Seismic Sounds and with Gaelic speaking communities in Barra, weaves closely into the stories of radical landownership in North Lewis.  Where these conversations meet and overlap presents opportunities for wider discussions around land reform in Scotland.

Many thanks to the Galson Estate staff and community. Special thanks to Agnes and Frank Rennie, Lisa Maclean, Annie MacSween, Iain Gordon Macdonald, Richard Collins (Edinburgh University), Edinburgh College of Art and Blackbay Recording Studios.

This project was produced in conversation with artists Stephen Hurrel and Fiona Rennie.

Virginia Hutchison is an artist based in Glasgow and the Isle of Lewis. Working within a predominantly social context her practice draws on the processes involved in collaborative creative production to explore how different forms of artistic engagement influence the interaction we have with our environments. Virginia currently runs the bronze casting facilities at Edinburgh College of Art and is one part of the duo ’In the Shadow of the Hand’ with artist and film-maker Sarah Forrest.

Produced with support from Community Land Scotland and the Stove Network.

https://www.galsontrust.com/about-clsartproject

[1]Annie Macsween, Faclan 2020, A History with Heart and Soul – The Place-names of North Lewis, Ness Historical Society

[2]Frank Rennie, Dùthcas 2020, The Changing Outer Hebrides – Galson and the meaning of Place

 

Synopsis: Swimmer is a suite of four field recordings. Recorded in Palm Desert, California in late-summer, the work explores the sonic relationship between an individual and a place. The focal point of the recordings is the sound of a person swimming in a backyard pool. This performance is accompanied by the ambient sounds of a suburban California neighborhood: mockingbirds, cicadas, lawnmowers, pickup trucks, the wind through the trees. The disembodied sound of the swimmer in this place breaks down the hierarchy between human and nature, offering a post-human, decentered perspective. Swimmer was released on cassette in September 2021. Bio: James Chrzan is an artist and musician working in New York City. His work engages in the long history of the dematerialized art object. Narcissus pseudonarcissus—an opera in two acts written in collaboration with Rachel Hillery—debuted in June 2021. He releases music as one half of Former New York Mayor and alone as My Life as a Kinetic Sculpture. He has exhibited work in New York, Chicago and elsewhere. He received his MFA from Hunter College in 2019.

Lost Origins invites listeners on a journey along the subtle outlines of a fragmented map made up of sounds, signals, songs, chimes and rhythms. From a Buddhist monastery to bird calls to wandering drones, this piece was all about tracking (and breaking) the kinship between natural and man-made frequencies. The curtain of time, woven from the thin fabric of oblivion, is sewn together by bumblebees and sewing machines alike, and its hem is embroidered with the song of cicadas and the sound of one hand clapping. Recordings and composition: Gabi Schaffner 2021 Occasional percussive elements: FX Schroed ’Air Folk song: Courtesy Romina Casile, 2018 rominacasile.com Gabi Schaffner works as a trans-disciplinary artist within the realms of radio art, composition and performance. Her artistic practice is determined by the methods of poetic ethnography in connection with fluxus-like mise-en-scènes, radio-making and sound art performances. Schaffner has been realising award-winning productions with DeutschlandfunkKultur, radia.fm, Hessian Cultural Radio and ABC Australia. Since 2012 she maintains “Datscha Radio”, a nomadic transmission project that links the medium of radio to current ecological issues. Gabi Schaffner lives in Berlin. Currentwork: Duftgesänge (Fragrant Songs). Vinyl. Artist‘s edition 20 copies, silkscreen printed cover, 2021 schaffnerin.net datscharadio.de

During the pandemic, artist Hannah Kemp-Welch was in-residence at the Women’s Art Library, based at Goldsmiths, University of London. Reaching out to community groups in the local area, Hannah photocopied and collated packs of ephemera from artists' projects documented in the library and posted these to local residents. Seven women selected an artist from the archive and responded to their work, recording personal reflections as they looked through materials. This audio essay considers access to archives, and how voices can bring the Women’s Art Library to life. Hannah Kemp-Welch is a sound artist with a socially-engaged practice. She produces audio installations, radio broadcasts and online artworks, often with community groups, using voices, field recordings and found sounds. She also produces zines and builds basic radios, aiming to open out sonic practices and technologies for all. Hannah has worked with communities across the UK, and shown works in arts spaces including Art Gene, John Hansard Gallery, Tate Modern, Barbican and Flat Time House. Website: sound-art-hannah.com Twitter: @SoundArtHannah

This radio art piece deals with the topic of utopia, giving critics on the degradation of the contemporary society in the context of a capitalistic system, and is giving a possible solution. It is an answer to the systematic pressure and a dream for a better world. It is inspiration for what we are aiming to, a better world, imagining a utopia in conditions of living in dystopia.

Toni Dimitrov a multimedia artist, cultural producer, radio host, curator, label owner, mountain climber and nature lover, that connects all these things with the love of music, sound art and field recordings. Working in the field of sound art and experimenting with electronic music for more than 20 years, and have even longer experience in the radio. Have been curving his way into the new experimental music/sound art scene with his solo engagement, bands and lots of collaborative releases, radio art and art installations. Curating the labels post global recordings and élan vital recordings.

http://www.post-global.com
http://www.elanvital.bandcamp.com
http://www.kanal103.com.mk

The Lahnbach is closely linked to the development of Schwaz – almost the entire city lies on it`s alluvial cone. Stream and people have been in direct process of forming the landscape for hundreds of years. Initially used to generate energy to operate mills, smelters and forges, the Lahnbach quickly became a destructive force due to the sudden settlement, deforestation and mining and it´s mudflows where feared. The soundscape combines a collection of sounds of „protective measures“ – biological (protective forrest), technical (steps/dams) and superstitious (weatherbells) – portraying these mutual transformations creating the hybrid that is the Lahnbach.
 
In her artistic practice Evamaria Müller is interested in the ways how „nature“ and technical or cultural processes mix and what these (inter-)actions sound like. In her mostly site-specific works, she combines field recordings, found footage and interviews with sound experiments, composed of collected fragments and objects. By engaging directly with the visited places they expand to include stories based on constructed acoustic situations, local history and myths. By engaging with the sonic signature of these geographic locations her works investigate sounds, structures and objects of our surroundings to highlight the voices they contain.
 
http://www.evamariamueller.net

A Durian in the Ear is a sound series that crosses Vietnam. It takes the form of a hybrid object between immersive experimentation and a postcard, where the sounds of the environment support the narrative by providing a stationary journey for the listener.

Julien Sarti is a sound designer, producer of radio shows, documentaries and unidentified sound objects. He likes to make images with sound. In 2018, from his collection of rare records, he created in 2018 “Sommeil paradoxal” with which he won the Phonurgia prize in the sound art category. For 1 year, he has worked in Vietnam and took the opportunity to produce a sound series "a durian in the ear".

http://www.juliensarti.com

1. Cinzia Nistico - One Dimension and a Half Episode 16 (5:00)
2. Andrew Knight-Hill - Atra-hasis (18:00)
3. Primitive Acoustics - Brief Conversation (2:16)
4. Hannah Kemp Welch & Lisa Hall - We are just animals, humans and machines getting on together in specific lifeworlds (9:59)
5. Gonzalo Varela - Tres historias breves (4:46)
6. Catherine Clover - Neighbourhood (11:59)
7. Tom Glasser - After the Beep (6:58)
 
1. Cinzia Nistico  - One Dimesnion and a Half Episode 16

In this podcast I merge both the principle of storytelling and songs, marking a counterpoint between sounds/music and the narration, a sort of unsung songs.
A journalist’s semi-dada journal about an expedition aimed at reaching Earth’s fluid strata. The story alludes to the Nordic myth of Jörmungandr the World Serpent which marks Ragnarök, a series of natural disasters leading to the submersion of the Earth in water.
The first season focuses on events preceding the expedition, the second focuses on the mission itself. 
 
Cinzia Nistico: voice/music/script/field recording    Igor Iofe: trumpet
 
Cinzia Nistico is a composer and multimedia artist. She’s interested in the psychological impact of sound and the emotional load it carries. In her projects she explores themes of identity and reality and the disruption and distortion of both. In her music she creates structures that are static and evolving at the same time. In her electronic/electroacoustic music she uses instruments or/and voice as a source. She graduated in composition in London (Trinity College of Music) and Milan (Conservatorio di Musica). Her music is performed in Europe and worldwide. Visit cinzia-nistico for a full resume.

2 Andrew Knight-Hill. - Atra-hasis

Written nearly 4000 years ago, the Babylonian Atra-hasis is an iconic poem with an eternal message for mankind. It tells the story of how a thoughtless mankind weighs heavily upon the earth, such that the gods are forced to act. They first send forth a great sickness, then a great famine. But when neither of these can quiet the noise and chaos of humans, they are forced to send forth a great flood to wash away mankind.

These soundscapes and choral works were developed as part of the Over Lunan performance project.

Composition and Sound Design - Andrew Knight-Hill

Choir - Chamber Choir from the University of St Andrews Music Centre
Rebecca Black
Sarah Greer
James McNinch
Nathanael Fagerson
Ross McArthur
Guy Minch
Elizabeth Unsworth Wilson
Jane Pettegree
Choir Director - Claire Innes-Hopkins

3. Primitive Acoustics  - Brief Conversation

My name is Tom Thompson aka Primitive Acoustics from Indio, California, USA
My compositions feature ambient layers mixed with experimental sound textures using a variety of instruments; music boxes, synthesizers, guitars and recordings of sounds captured in the wild.
 
https://primitiveacoustics.bandcamp.com/

4. Hannah Kemp Welch and Lisa Hall - We are just animals, humans and machines getting on together in specific lifeworlds

During the pandemic urban parks transformed into a vital place of escape. New communities formed through a rhythm of use and timing. As our attention is confined to the local, we have become more attuned to animals with whom we share these urban spaces. This work invites us to hear the park through the ears of its inhabitants and from their varying hearing perspectives, celebrating a simple connectivity with other living matter. The piece features community group Edible Landscapes and was recorded on-site at Finsbury Park, commissioned by RCA Curating Collective Breath Mark and Furtherfield.

Lisa Hall is a sound artist exploring how environments are built in sound. Hannah’s practice is socially engaged and concerned with listening. Hannah and Lisa met at London College of Communication, whilst studying MA Sound Arts in 2010. We share an interest in public and private space, and how sound and audio technologies build networks and tell stories that often can’t be seen. We have since collaborated on audio art projects for performances and installations at Tate Modern, CRiSAP, Fringe Arts Bath and Firstsite Colchester.

5. Gonzalo Varela - Tres historias breves

“Tres historias breves”is a set of small electroacoustic pieces composed between 2018 and 2020. The first one, “Maleable”, features transformations of a single pitch played in flute, guitar, piano and violin. The second one, “Magadan”, was built with samples of instruments of a bronze Javanese Gamelan that I recorded in Chicago. The third and last one, “Michigan Avenue”, mainly uses synthesis methods involving delay lines and wavetables. To make the compositions I programmed patchs for the programming language Pure Data and the sampler Kontakt, and in the three cases the work was finalized using the digital audio workstation Reaper.

Composer, sound designer, audio programmer and guitarist born in 1990 in Montevideo, Uruguay. I have received awards from Uruguay's Ministry of Education and Culture, Fulbright, the Uruguayan Choral Association and Columbia College Chicago among others, and compositions of mine have been played in concerts, festivals and workshops in eleven countries. I hold a Master of Fine Arts degree from Columbia College Chicago and a Bachelor of Music degree from the Universidad de la República. Furthermore, I have held teaching positions at three universities: Columbia College Chicago, Universidad de la República and Universidad Católica del Uruguay.

6. Catherine Clover - Neighbourhood
 
This is a field recording from Pahar Ganj, central Delhi, in 2018, before the pandemic. Music plays on the streets of this neighbourhood, both recorded and live, all day every day as well as late into the night. The music is Indian – classical, contemporary, religious, folk, Bollywood. In the recording, music and singing blend with audio feedback, traffic horns and street noise as a Sikh festival passes through the daily market. A local radio station plays in the market stalls, tuktuks and on hand-held radios and the recording ends with two Bollywood songs playing in the hotel lobby.

 Catherine Clover’s multidisciplinary practice addresses communication through voice, language and the interplay between hearing/listening, seeing/reading. Using field recording, digital imaging and the spoken/written word she explores an expanded approach to language within and across species through a framework of everyday experience. 
 
Brought up in London UK she arrived in Melbourne Australia as visiting artist through Gertrude Contemporary in the 1990s. Her work has been exhibited and performed internationally since the 90s. She teaches in Melbourne at Swinburne University (MA Writing), RMIT University (MA Public Art) and holds a practice led PhD (Fine Art) through RMIT University.

7. Tom Glasser - After the Beep

For many years Dr Susan Schuppli has been scouring charity shops and carboots for answering machine tapes. It's always been a joy for her to find recordings on those tapes; voices once deemed disposable, now treasured by Susan.

After Susan was kind enough to give me access to her incredible archive, I wanted to create a piece with the ‘bleeps, bloops and whirrs’ that would offer a brief flicker of the immensity of the stories left behind in the tape machines thrown out into the charity shops of North America.

Tom Glasser is a freelance radio producer who has made sounds for BBC Radio 4, R4 drama, National Prison Radio, and many others.



    

In response to “stay home” restrictions in the Covid-19 pandemic I walked into existence an imaginary island. For the first lockdown I walked from my house; I recorded my walking and mapped my route; I make Contención Island; I walk until easing begins – 42 days. In the second lockdown I walk the shoreline - 28 stretches of coastline; different lengths; I walk one each day; over 28 days I re-build an island across time. In the third lockdown I walked to places using chance operations and record sounds for randomly determined periods of time - 83 sounds of randomness.

My practice reflects my experience of being in and walking through natural environments. I use sound recording and text to present time, distance, place and space of the landscape and to provide an opportunity for a listener to consider what it means to move through the landscape at a human pace and scale. Written or spoken and transcribed notes made whilst walking provide the material for poems, often in the form of haiku, and other text works. I have exhibited nationally and internationally and have created radio works for Framework Radio, Resonance EXTRA and Radiophrenia.

web: https://martinpeccles.com

1) Jonathan Webster - In Search of the Light (12:30) 
2) Alexandra Spence - Suddenly silent (5:50)
3) David Toop - Dry Keys Echo in the Dark and Humid Early Hours (2:23)



1) Jonathan Webster - In Search of the Light 
 
In search of the light reflects on experienceswhilst working as a doctor in the NHS during the COVID-19 pandemic. It juxtaposes the physical, sonic and intellectualintensity of being in the hospital environmentwith the calm internalplaces you must travel to when there is nowhere else to go.It uses the words of Indian Philosopher Sri Aurobindo to allude to the incredible bravery that many patients had to demonstrateduring the pandemic when they oftenfaced their own mortality isolated from their loved ones. It uses some binaural effects that are best experienced with headphones.

Jonathan Webster (b. 1992, London) is an artist and an academic junior doctor based in Birmingham. He graduated with an Bachelor of Medicine, Bachelor of Surgery from Newcastle University in 2017, and a Masters of Research in Creative Practices from the Glasgow School of Art in 2015. His practices aims to look at the similarities, differences and opportunities for mutual enrichment that lie between his medical and arts practices. Using sound, fabric, video, found objects, photography, writing, and performance he tries to tell humanistic stories about things that are universal: love, death, family, identity, compassion, culture, and connection.

http://serfleeds.co.uk/member/jonathon-webster/

 2) Alexandra Spence - Suddenly Silent 

SuddenlySilent, released by Low End Theorists, August 2021,as part of compilation, mastered by Brendan Zacharias

https://theorytherapy.bandcamp.com/album/out-of-season

 
 3) David Toop - Dry Keys Echo in the Dark and Humid Early Hours

ART NO WAR 7 by Luigi Morleo - on text by Teresa Albanese.

This work give four keys of lectures of the narration: the first narration is the musical accents of the words; the second is the sound alone of the musical line of the words; third narration is the melody of the words; fourth narration is the armonic region of the
words. The complete work open the musical sound of the words.

Luigi Morleo (born 16 November 1970 in Mesagne, Province of Brindisi) is an Italian percussionist and composer of contemporary music, who lives in Bari and teaches at the Niccolò Piccinni Conservatory. He uses varied musical and artistic styles like minimalism, rock-cross-over, folk-Pop, jazz, electronica and DJ. Many of his works have been played by the Maracaibo Symphony Orchestra, Rome and the Lazio Orchestra, Clermont-Ferrand Conservatoire Orchestre, Orchestra Sinfonica Metropolitana di Bari, Orchestra del Conservatorio di Monopoli, Orchestra Sinfonica di Lecce e del Salento, Halleiner Kammer Orchester, Orchestra Filarmonica della Calabria, at PASIC (Percussive Arts Society) in Nashville, Federation Bells of Melbourne, and at the New York City Electroacoustic Music Festival and Festival MUSLAB from Mexico, Jasmin Vardimon Company from Ashford-UK, Percussion Ensemble from Academy of Music STANISLAW MONIUSZKO in Gdansk-Poland.

http://www.morleoeditore.com

"Lyricae" deals with personal struggle on different levels from the turmoil of a young man to depression, despair and finally suicide seen by the suicidal person as salvation rather than failure and tragedy. The soundscape is a further narration that evolves following the structure of the Sonata Form. Most sonic elements develop, change shape but maintain their eroding character, they come and go like memories of the past, insistent and corrosive. Then, new unexpected sonic fragments appear suddenly, undeveloped, as if they were there to represent not anymore the past but the present, suddenly perceived but not accepted "IRIDE PROJECT – Massimo Davi & Monica Miuccio" is a performing duo and a journey through electroacoustic music, their latest production focuses on radio drama. Their works were performed in Ireland, Italy, Portugal, Finland, Germany, Mexico, Macedonia, UK, Czech Republic, Spain and were regularly featured on Bernard Clarke's Nova on RTÉ Lyric FM. Massimo is a Sound Artist, Pianist and Composer. Monica is a Performer and Writer, her prize-winning literary works featured in prestigious publications such as the academic psychology magazine “Tecniche Conversazionali” (Milano – IT). Monica's novels are often the core of Iride Project's research on experimental sound-emphasis poetry. https://irideproject.bandcamp.com/ https://www.facebook.com/irideproject/ https://it-it.facebook.com/massimo.davi.iride.project https://www.facebook.com/monica.miuccio.iride.project

Combining synthesised sounds and field recordings from Iraq and the UK, Cindy Islam uses sound to rewrite and reprocess their migrant journey, unlocking a sound-portal to herstory and the future. Cindy Islam’s performance doesn’t consider to be a creation of sound but the rendering of existing sounds as audible. Using machines, recordings and instruments to generate the frequencies already lingering through their body, space and time; the ritual of conjuring these sound facilitates a deep listening practice. The performance invites listeners on a meditative journey through hearing some of the invisible vibrations that connect everything.  

The artist doesn’t claim any of these ideas to be original and has been heavily influenced by the following references:
+Quantum Listening: From Practice to Theory (To Practice Practice). Pauline Oliveros
+The World Is Sound Nada Brahma: Music and the Landscape of Consciousness by Joachim-Ernst Berendt, Fritjof Capra.
+Sufi thought and Sufi listening practices

Cindy Islam is a pseudonymous artist of Iraqi descent.
The artist splits their time working as a Social Worker and being a sound artist.
Sculpting, morphing and shaping the medium of sound to generate ambient soundscapes and performances; Cindy Islam believes the ears are an entry point towards healing and that sonic geography has the power to reconnect broken lines of lineage. Warped and woven into this vibrational resonance is a constant critique of what it means to be an artist and how artistic labour is related to material reality and change.

1. Isabella Stragliati - Aarti (7:48)

During Sydney’s most recent lockdown I submerged* a 15 minute-long piece of cassette tape in seawater collected from a local beach. The cassette tape contained a field recording of waves, and a recording of my voice offering a (non-definitive, and non-hierarchical) list of things found in the Pacific Ocean. I’ve been thinking about connection with bodies of water, as well as connections between bodies and water, and how we might reimagine our bodily limitations to examine the things that connect us to each other and to our surroundings. The sea has always felt like home, and having lived on both the east and west edges of the Pacific Ocean it has become a place of connection for me. I’ve been thinking about the Pacific Ocean as a home – not only to marine creatures and sea currents – but to the obscure movements of global trade, offshore data barges, and sunken satellites deactivated and dumped from space. Vast bodies may seem infinite, but nothing is – the depths hold mysterious, beautiful, and troubling things. …Bottlenose dolphins, ancient artefacts, Lego pieces, approximately 36 species of shark, underwater mines… Imagining an infinite ocean has led to overfishing, floating plastic-particle gyres, lost whales (as a result of the underwater din of shipping and naval industries), and an international sense of unaccountability. “… Do jellyfish breathe?” is a kind of sonic traversing of oceanic layers, exploring imaginary landscapes, entwining and encountering unequal forms, such as breath with wave, fish with fishing line, along the way. *Submerging the tape in salt water is an expansion of an ongoing project in which I bury tape loops 7-second field recordings on tape loops before burying them in the earth at the location in which they were recorded. I imagine this as a collaboration of sorts — I make a recording and the physical variables of each place and location alter it. While the magnetic coating of the tape retains sonic remnants of the recorded sounds of the place, the physicality of the tape ribbon retains material remnants of the place: sand, salt, other, which, in turn, impart audibly on the recording in the form of crackles, scratches, tape-warp, and hiss. Alexandra Spence is a sound artist and musician living on unceded Wangal land in Sydney, Australia. Through her practice Alex attempts to reimagine the intricate relationships between the listener, the object, and the surrounding environment as a kind of communion or conversation. Her aesthetic favours field recordings, analogue technologies and object interventions. Alex has presented her art and music in Australia, Asia, Europe, and North America including Vancouver Art Gallery; BBC Radio 3 & 4; Ausland, Berlin; Museo Reina Sofia, Madrid; Sound Forms Festival, HK; MCA ARTBAR, Firstdraft Gallery, and Liveworks Festival, with Liquid Architecture, Sydney. She has released her work with labels Room40, Longform editions, More Mars (w. MP Hopkins) and Canti Magnetici. https://linktr.ee/alexandraspence

Sound works based on a site-specific installation shown in St Fagans National Museum of History, in Cardiff. The museum has saved Wales' architectural heritage by moving, and reconstructing buildings of significance in the grounds of St Fagans Castle. I have re-imagined my original sound interventions specifically for radio, by combining the sound archives of the museum, with impulse response recordings of the interior acoustics, and field recordings from the original locations. The idea is to convey a sense of how the buildings may once have sounded, and placing them in a historical, and human context. John is a composer and multi-disciplinary artist based in Cardiff. His work is deeply rooted in Welsh culture and landscape & his interest is in new approaches of presentation. In 2018 John presented a significant site-specific work in collaboration with St Fagans National Museum of History's archives, The BBC National Orchestra of Wales, and Radio Cymru; combining the historical recordings with composed musical narrative, and film. John is currently developing a multi-disciplinary collaboration with renowned percussionist Dame Evelyn Glennie; a 'spectral' influenced work combining immersive sound, with performance and sound-reactive film. http://www.johnmeirionrea.com

A talking head monologue: Reflecting on his life, a man finds it almost impossible to understand any of it. And the conundrum is to do with an ordinary wall in an ordinary street. Chin Li worked as an NHS clinical psychologist in Scotland for many years, but is now focusing on writing (short fiction and poetry), and also trying to learn the ropes of other forms of creative expression such as audio work.

Mark Vernon

Sheet Erosion
Audio Archaeology Series Volume 3: Brest

Sheet Erosion is the third episode in a series of works based around ideas of audio archaeology and found sounds. The setting this time is the city of Brest in France. The piece is created from recent field recordings made in early 2020 during the storms Ciara and Desmond and a batch of found open reel tape recordings from the 70s and 80s. The tapes include domestic home recordings but mostly document the recordist, Michel’s tastes in music and radio programmes of the time. In listening to the tapes it occurred to me that what we choose to record is actually a record of ourselves – our tastes, interests, emotional state or personality even. Each recording in isolation provides little in terms of clues but en masse a clearer picture begins to emerge and certain character traits start to become identifiable. Recorded with a mic in front of a speaker rather than directly cabled, daily life bleeds into these lo-fi recordings of radio and TV programmes – ambiguous activities in the background, babies crying, feedback, chairs scraping, chatter, etc. In the composed work family histories and musical tastes are transposed over a more contemporary soundscape of Brest. Over-saturated tape distorts time as well as sounds. Speeds change. Chronologies become confused. Different instances in time are blended and fused. What seeps through these chronological crevices are events and incidents unmoored from linear time taking place in a chimerical non-space. Although the location remains the same would it be in any way recognisable to the inhabitants chronicled within it?

Field recordings used in the piece include: Le Téléphérique de Brest (cable cars), hotel lifts, wind whistling between railings on the Pont de Recouvrance, wind whistling through gaps in doors, traffic, ventilation units, fans, light bulbs, alarms, automatic toilets, soap dispensers and hand driers.

Biography: 
 
Mark Vernon is a Glasgow based sound artist whose practice focuses upon
field recording, the manipulation of environmental sounds and acousmatic presence.
 Operating on the fringes of sound art, music and broadcasting, his work explores ideas 
of audio archaeology, magnetic memory and the reappropriation of found sounds. A 
keen advocate of radio as an art form, he co-runs Glasgow art radio station,
 Radiophrenia and has produced programmes for stations internationally.

 
Web: http://www.meagreresource.com

 

 

March 1954. An embittered colonial administrator washes up on the island of Tahiti. Disgusted by what he finds there, he falls prey to a pointless artistic quest. Absorbed in his obsession, he fails to notice the astounding environmental crime about to take place 3,000 kilometres away. The Americans are preparing to test their latest weapon of mass destruction - a hydrogen bomb that will bespoil the region for generations to come. Using fragmentary narrative and dissociative sounds, Gaugin’s Hut examines absolute power and its unthinking ability to obliterate both nature and culture in furtherance of dubious aims. Xentos Fray Bentos was born in a small hut in the west of Ireland. Transported to England, he tended sheeplike goats until he was sent to school to unlearn everything he’d been taught. Aged eight, a friendly aunt and uncle gave him a battered tape machine with two reels of tape along with an ancient valve radio receiver that ran very very hot. One can imagine what came next but it will serve no purpose to delve any further into this particular set of circumstances.

1. Sam Sebren - “This Is Your Pharmacy Calling” (21:04)/2. Alan Neilson and Matthew P Hale - "My Brother Niall" (4:52)/3. Felipe Otondo - Mombasa mix (8:18)/4. Rachel Beckles Willson - Unwept Tears (4:49)/5. Museleon - Life Mask (9:30)/6. Liz Narey - I Dont Want To Be A Monster (1:39)/7. Frederico Pessoa - Placeness (7:14) 1. Sam Sebren - “This Is Your Pharmacy Calling” This piece was originally conceived for live performance, utilizing all equipment (plus additional electronics, microphones, and instruments) in the WGXC radio studio for the Everything Is Real Radio program, July 11, 2021. This is a constructed version, made as a rough guideline for any future performances. There is a quasi narrative of a guy stuck in a machine, trying to find his way out. Sam Sebren: processed guitar, vocals, toy piano, synthesizers, microphones, field recordings, radio tuning, answering machine, samples, loops, turntable manipulation, drums, engineering, mastering Gary Ziroli: additional vocals Sam Sebren works in installation, collage, painting, photography, video, public works, and also sound-based works with ties to noise and experimental music. His radio works for Wave Farm/WGXC have been broadcast nationally and internationally on Pacifica stations and on the Radia Network. He was awarded a Wave Farm residency and produced “Re:Search”, an un-documentary about the history of radio artists. Sebrenhas exhibited widely in galleries and universities, also in film festivals, unsanctioned public interventions and non-profit spaces. He hosts “The Nothing Is Real Radio Hour” and “Everything Is Real Radio” programs on Wave Farm/WGXC. 2. Alan Neilson and Matthew P Hale - "My Brother Niall" This piece of spoken word/music is a part of a collection of my compositions called “Soliloquy” where I asked poets and writers to read out of a piece of their work. I then set this recording to music, inspired by the feel of the writing and the writer’s performance. Matthew’s poem concerns the play on words of the repeated phrase: “Niall is..erm..”, which eventually morphs into the word, “nihilism”. It is a piece about an artist losing his creativity and mind while carrying out his menial job. I have been writing all my life. I attended Manchester Metropolitan University and majoring in Creative Writing/Musical Composition. I have a varied musical output, ranging from standard pop/rock songs to the more avantgarde, where I have incorporated found sounds and spoken word. Initially this was using my grandad’s spoken life story that was passed to me on tape cassettes after he died. Then later this developed into the album “Soliloquy”. I have been self-releasing my music for over 10 years now under the title ‘elementary recordings’ – I also support and release music by local artists/musicians. 3. Felipe Otondo - Mombasa mix This piece, composed in 2020, was conceived taking as a starting point various kinds of field recordings carried out in 2012 during the month of Ramadan in the city of Mombasa on the East coast of Kenya. By means of combining interviews, radio samples, environmental recordings and subtle rhythms generated by means of different synthesis techniques the work aims to explores various aspects of contemporary African culture. This work is also a small tribute to the 1981 record ‘My life in the bush of ghost’ by Brian Eno and David Byrne which opened the door to a new world of African sounds. Felipe Otondo (1972) studied acoustics and composition in Chile where he developed various composition projects for experimental theatre. In 2005 he pursued his composition studies at the University of York in England with Ambrose Field and Roger Marsh focusing in electroacoustic composition and music theatre. His music has been played in festivals in 37 countries and his research output has been published by important journals such as Computer Music Journal, Organised Sound and Leonardo Music Journal. Felipe is currently a Senior Lecturer at the Institute of Acoustics at Universidad Austral in Chile. More information at http://www.otondo.net 4. Rachel Beckles Willson - Unwept Tears What do secrets sound like? Where do they live? In this 5-minute radio piece I tell the story of a secret being revealed. I use the sound of whispers and spoken text fragments like instruments, combining them with an unusual and slightly surreal mix of accordion, oud(oriental lute), udu (a Nigerian drum played by women), and saxophone. The whispers and fragments gradually become coherent, but the secret is elsewhere: it’s hidden in the pages of a book. I try to capture the sound of transformation and hope that a painful secret, once released, can bring. I am a composer, multi-instrumentalist and researcher, with an interest in hidden sounds and stories. Currently my main creative project is connective tissue, a mixed-media collaboration with artist Lin Li; I also direct Beyond Mode, a quartet exploring music travelling in the Mediterranean and beyond; while my recent work with asylum seekers in Sicily culminated in a CD release, Today is Good! I have published numerous articles and books, including Orientalism and Musical Mission (2013), and Ligeti, Kurtág, and Hungarian Music during the Cold War (2007). I am Honorary Research Professor at the Royal Northern College of Music in Manchester. rachelbeckleswillson.com 5. Museleon - Life Mask As for many, 2020 was a strange and tough year and if it wasn't for my art, both sound and visual, I might not be writing this now. I haven’t talked much about it but earlier in 2020 I had a viral illness that affected me greatly and I turned to my art as a means to express what it was like. Life Mask is the sound of the inside and artwork of the outside, a sonic and pictorial expression to try and order things in my mind and was created between April through to Autumn 2020. The resulting project, which can be seen in its entirety on Vimeo, is uncompromising in both sound and image. Museleon is a project which allows me to break away from some of the conventions that I have used elsewhere as an electronic musician. I have been experimenting more with sound and I use a range of field recordings, found sounds and hardware with minimal processing, as I’ve always been interested in how sound can morph into beautiful complex patterns. It’s the ‘small sounds’, anomalies, mistakes and the sounds ‘between’ that catch my ear. Many of my pieces are based on images and things I see, which act as graphic scores. http://www.museleon.com 6. Liz Narey - I Dont Want To Be A Monster I Don't Want To Be A Monster is a completed commitment to an idea formed while Liz's kid Heidi was still at school. They joked after school one day about making a hit record on this theme. Heidi provides supporting vocals to Liz's short theatrical realisation of this idea. After many years, it is a connection to something frivolous and just for fun. Engineered and co-produced by Jon Harvison. Liz Narey (she/her) is a singer in Bingley, West Yorkshire, England. She has just recorded an album which will be available on bandcamp later this year. https://liznarey.bandcamp.com/ 7. Frederico Pessoa - Placeness Placeness is an experiment with a set of common objects and kitchen utensils, as well as contact microphones used in a live performance that had as its theme the city and its different aspects and problems. This version is composed and processed in such a way as to be listened with attention to details, spaciality and the subtle development of sensation of place. Frederico Pessoa is a brazilian sound artist and musician who has been presenting solo and group exhibitions, sound and multimedia performances and working with other artists in different projetcs and languages.He has studied classical guitar and has a PhD in Arts from the Federal University of Minas Gerais. He is interested in the relations between sound and politics; sound and other artistic languages; sound, body and space; simple technologies and the vibrational aspect of day to day life and its effects on our bodies. http://www.fredericopessa.net Instagram: @—fpessoa

radioart106_#126 Al Khalil - No Settlement Listen to the people of Al Khalil aka Hebron. This show was produced during the end of April 2020 while we were all experiencing the Corona virus. In occupied Khalil, curfews and lockdowns are imposed on the non settler population frequently. Apart from Al Quds, aka East Jerusalem, Al Khalil is the only Palestinian city still formally occupied by the Israeli state. 3 months later, on July 26, Badee Dweik with whom I premeditated this show, wrote the following introduction to it: The situation in Palestine becomes more hard than ever before. First because of the Israeli occupation actions against Palestinians such as the annexation project, secondly due to the Corona pandemic which hit Palestine strongly than in the beginning, particularly in Hebron. The statistics of the cases in Palestine reached about 500 in one day, half of which are in Hebron, most of the time. The reason to that is not because Hebron is the largest city but because the Palestinian authority can’t provide services to the people who live under Israeli control, in the city part called H2. The occupation forces demolished a Covid-19 medical centre in Hebron. An act condemned with full force. This aggression is not only against Palestine and its’ health system BUT it is a crime against all human and moral values, international charters, agreements and health protocols. It confirms that Israel has a gang government which bullies, terrorises and considers itself above the law. The world’s silence and impotence are a green light for Israel to continue instead of boycotting it as an apartheid regime. Featuring (in order of appearance): Badee Dweik, Lama Aloul, Alaa Jaber, Imad Abu Shamsie, Farihan Farrah, Nayef and Dalal Da’na, Issa Amro, Adli Daana and Lana Abu Ajmeah. Translation from Arabic by Dareen Tatour. Sounds Dror Feiler and Meira Asher, live at the Link-Brixton 2011. Winter Family (Rosenthal/klaine), from the documentary theatre performance 'H2-Hebron’. Sounds from videos shot by the Capturing Occupation Camera Project in Palestine, Human Rights Defenders Hebron. Dror Feiler, live at Tegen 2 Stockholm, April 2020. Voodoo Rabbit by Black Chama, Raash Records 2020. photo: Shuhada St. checkpoint during lockdown by Issa Amro Hebron Human Rights Defenders Youth Agains Settlements International Palestinian Youth League Dror Feiler Winter Family Meira Asher Black Chama Raash Records

radioart106_#126 Al Khalil - No Settlement Listen to the people of Al Khalil aka Hebron. This show was produced during the end of April 2020 while we were all experiencing the Corona virus. In occupied Khalil, curfews and lockdowns are imposed on the non settler population frequently. Apart from Al Quds, aka East Jerusalem, Al Khalil is the only Palestinian city still formally occupied by the Israeli state. 3 months later, on July 26, Badee Dweik with whom I premeditated this show, wrote the following introduction to it: The situation in Palestine becomes more hard than ever before. First because of the Israeli occupation actions against Palestinians such as the annexation project, secondly due to the Corona pandemic which hit Palestine strongly than in the beginning, particularly in Hebron. The statistics of the cases in Palestine reached about 500 in one day, half of which are in Hebron, most of the time. The reason to that is not because Hebron is the largest city but because the Palestinian authority can’t provide services to the people who live under Israeli control, in the city part called H2. The occupation forces demolished a Covid-19 medical centre in Hebron. An act condemned with full force. This aggression is not only against Palestine and its’ health system BUT it is a crime against all human and moral values, international charters, agreements and health protocols. It confirms that Israel has a gang government which bullies, terrorises and considers itself above the law. The world’s silence and impotence are a green light for Israel to continue instead of boycotting it as an apartheid regime. Featuring (in order of appearance): Badee Dweik, Lama Aloul, Alaa Jaber, Imad Abu Shamsie, Farihan Farrah, Nayef and Dalal Da’na, Issa Amro, Adli Daana and Lana Abu Ajmeah. Translation from Arabic by Dareen Tatour. Sounds Dror Feiler and Meira Asher, live at the Link-Brixton 2011. Winter Family (Rosenthal/klaine), from the documentary theatre performance 'H2-Hebron’. Sounds from videos shot by the Capturing Occupation Camera Project in Palestine, Human Rights Defenders Hebron. Dror Feiler, live at Tegen 2 Stockholm, April 2020. Voodoo Rabbit by Black Chama, Raash Records 2020. photo: Shuhada St. checkpoint during lockdown by Issa Amro Hebron Human Rights Defenders Youth Agains Settlements International Palestinian Youth League Dror Feiler Winter Family Meira Asher Black Chama Raash Records