You are browsing the archive for 2011 February.

El Primer Sentido. Anna Raimondo

17 February, 2011 in programs

Dedicamos la décima edición de El Primer Sentido a las creaciones radiofónicas e inquietudes sonoras de una original artista y periodista que pone a prueba en cada trabajo la enorme capacidad expresiva del lenguaje radiofónico. Desde Marsella nos habla Anna Raimondo.

Instalación sonora “From this to this”,
de Maria Inigo Clavo y Anna Raimondo. Foto
©Baba Al

Todos los programas en iTunes

Suena en esta edición (por orden de aparición):

- Sven Väth, “Fusion”

- Sparkletone: “Metamorphosis”

- Luc Ferrari: “Saliceburry Cocktail” (fragmento)

- Janet Cardiff: “P.S. 1 Walk”(fragmento)

- Fragmento de “Lavapies Chipén. Memoria sonora de un barrio”, de  Anna Raimondo y Manuel Calurano

- Fragmento de “Jusquici tout va bien”, radio show de Anna Raimondo y Tony Regnauld. Suena el tema de Iva Bottiva y Pavel Fajt “Morning Song

- Fragmento de Play Babel, de Anna Raimondo

- Postal sonora de Teheran, de Anna Raimondo

- Fragmento de Faux Debutants, de Anna Raimondo

- Lamb, “Angelica”

- “From this to this”, de Anna Raimondo

- Telepopmusik, “Breathe”

Radio Performance “Play Babel”, en Viena. © Younes Baba Ali

Links Relacionados:

LINES OF SIGHT #7 . Radio Incarné. Yasunao Tone and Tetsuo Kogawa

17 February, 2011 in programs

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Curated by Barbara Held and Pilar Subirà

This is a collaboration for “Lines of Sight” by philosopher and pioneer of mini FM radio, Tetsuo Kogawa, and sound artist Yasunao Tone, based on an email exchange on radioart.

‘When we were asked to make a radio collaboration for Radio web MACBA, we decided to use an email exchange on radioart, vocalize the text, and then both of us play it live in performance.

Our collaboration started as argument on temporality, which was my fault because I started this difficult topic and it made our dialog into hastily scribbled heavy-handed letter exchanges rather than crisp emails. After we became aware of that, we began scribbling our thought by using the email format and keyboards. So, in accordance with Kogawa’s insistence on hands, we have literally thought on a column of email by hands. Regrettably, our native language is Japanese and we have been forced to speak a language we seldom use when we dream so we couldn’t play with words. However, I tried to add playfulness by vocalizing with a synthetic voice program from Mac’s “Simple Text” and burned it onto CDR. Then I prepared the CDR (so called scratching) and played it with my old CD player. Unfortunately we couldn’t practice our program as radioart because Radio web MACBA has no format for live broadcasting from Tokyo and New York. We present our collaboration in this recorded form.’

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Yasunao Tone

+ info
Transcription of the dialogue.

Playlist

01“‘Radio Incarné’, a dialogue”, 2008. Collaboration with Tetsuo Kogawa and Yasunao Tone.

Toward a Definition of Radio Art by Robert Adrian X

16 February, 2011 in articles

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TOWARD A DEFINITION OF RADIO ART

Radio art is the use of radio as a medium for art

Radio happens in the place it is heard and not in the production studio.

Sound quality is secondary to conceptual originality.

Radio is almost always heard combined with other sounds – domestic, traffic, tv, phone calls, playing children etc.

Radio art is not sound art – nor is it music. Radio art is radio.

Sound art and music are not radio art just because they are broadcast on the radio.

Radio space is all the places where radio is heard.

Radio art is composed of sound objects experienced in radio space.

The radio of every listener determines the sound quality of a radio work.

Each listener hears their own final version of a work for radio combined with the ambient sound of their own space.

The radio artist knows that there is no way to control the experience of a radio work.

Radio art is not a combination of radio and art. Radio art is radio by artists.

http://www.kunstradio.at

Mauricio Kagel en Ars Sonora

16 February, 2011 in classics, programs

Presentamos dos trabajos del compositor, cineasta, escenógrafo, director de orquesta, artista radiofónico… de origen argentino Mauricio Kagel, nacido en Buenos Aires en 1931 y fallecido en septiembre de 2008. En primer lugar, una pieza instrumental pertenciente al ciclo “Die Stücke der Windrose”. En la segunda parte del programa ofrecemos íntegramente la obra radiofónica “Playback Play. News from the Music Fair”, en la que el autor recrea -con su característico humor surrealista- los sonidos evocados por una feria de instrumentos musicales.

Dirigido y presentado por Miguel Álvarez Fernández.

Ars Sonora, 6-6-2009

Kinokophonography Open Call

15 February, 2011 in call of works

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Field recordists and phonographers, playing and listening to recordings from around the world.

Our next Kinokophonography evening is coming soon!
Please mark your log books for an evening of sounds, stories and exploration on February 23rd!

About Kinokophonography:

Kinokophonography is an evening of sharing sound recordings, exploring the experience of listening and discussing what these recordings and the process of making them can bring to life.
Send along a few favorites from your catalogue of recordings to play or just come to listen.

Please write us moshimoshi@kinokophone.com if you would like to attend or play a recording

The next Kinokophone Listening event, Kinokophonography will take place 23rd February from 19:00 to 21:00

Kinokophonography is kindly hosted by MadLab http://madlab.org.uk/

36-40 Edge St.
M4 1HN

Send us your Sound Spores!
Also, there are a few days left to submit your sounds to our call for submissions! The deadline is February 17th,

for more information, see below:

Open Call for audio submissions:

Kinokophonone are welcoming audio submissions to share in a collective listening experience at future events.
Works can be un-edited field recordings or compilations of no more than 5 minutes in duration.

To respond to our open call, please email us moshimoshi@kinokophone.com

Please send us your sound files along with the following details:
track title, length and location of where the recording was made.
Please note that we have stereo speakers available for the event.

Theme Submissions
In addition to our open call, we welcome submissions around a theme collectively decided at Kinokophonography. The next theme is: food
Please interpret this theme as you wish, and set out with your recorder.

Next, please send us moshimoshi@kinokophone.com your recording (up to 2.5 minutes by February 17th.

We will dedicate part of the evening to these specially produced recordings.

In the meantime, please check out the Kinokophonography page http://kinokophonography.kinokophone.com/ or
our website http://www.kinokophone.com
http://www.kinokophone.com/ forfurtherand upcoming information.

Looking forward to hearing from you soon!
Kinokophone
Kinokophone would like to thank ideaswithheart http://www.ideaswithheart.com

designer Ryan Weisgerber
for the great poster design!

Thanks to
MadLab http://madlab.org.uk/forwelcoming us!

encyclopedie de la parole

15 February, 2011 in news

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L’Encyclopédie de la parole est un projet collectif qui cherche à appréhender transversalement la diversité des formes orales.

Qu’y a t-il de commun entre de la poésie sonore, des dialogues de film, un commentaire sportif, une conférence philosophique, un dessin animé, du rap, un message de répondeur, un jeu télévisé, un sermon religieux, une sitcom doublée en français, des discours politiques, une vente aux enchères, le babil d’un enfant de dix-huit mois, une incantation chamanique, des déclamations théâtrales, la plaidoirie d’un avocat, des dessins animés, une publicité, des conversations courantes ?

Indexations (extrait)

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une pièce sonore de Pierre-Yves Macé

Depuis septembre 2007, l’Encyclopédie de la parole collecte toutes sortes d’enregistrements et les assemble en fonction de phénomènes particuliers de la parole : cadences, choralités, compressions, emphases, espacements, mélodies, répétitions, résidus, saturations, timbres, etc. Chacune de ces notions constitue une entrée de l’Encyclopédie. Chaque entrée est dotée d’un corpus sonore et d’un article, en consultation libre sur ce sitein progress.

Lors d’ouvertures publiques, l’Encyclopédie de la parole propose par ailleurs des pièces sonores, des performances, des conférences, des installations, des ateliers, un jeu.

L’Encyclopédie de la parole est animée par un collectif de poètes, de performeurs, d’artistes plasticiens, de musiciens, de curateurs, de metteurs en scène, de chorégraphes, de réalisateurs de cinéma ou de radio. Son slogan est : “Nous sommes tous des experts de la parole“.

Pour être tenu(e) informé(e) des rendez-vous proposés par l’Encyclopédie de la parole, inscrivez-vous à notre lettre d’information. Vous pouvez aussi nous envoyer vos remarqueset nous proposer vos extraits sonores.

CE SITE EST ACTUELLEMENT EN TRAVAUX : NOUVELLE VERSION LE 17 FEVRIER A L’OCCASION DE L’EXPOSITION DE L’ENCYCLOPÉDIE DE LA PAROLE À LA VILLA ARSON (NICE)

http://www.encyclopediedelaparole.org/

Prix Marulić // International Festival of Radio Plays and Documentary Radio Dramas. Croacia

12 February, 2011 in call of works

15th Prix Marulić, 7 al 13 de mayo, Hvar, Croacia.

El Festival Internacional Prix Marulic, organizado por el Departamento de Ficción de Radio Croacia, abre su convocatoria para la recepción de trabajos para su concurso. Es uno de los más importantes eventos culturales internacionales en Croacia.

El concurso está abierto a todos los miembros titulares y asociados de EBU, así como a otras organizaciones de radiodifusión y productores independientes. Esto significa que el Gran Premio de Marulic está abierto a todos los autores de radio, independientemente de si proceden de emisoras o de organizaciones similares, o sí son trabajadores independientes.

El festival acoge adaptaciones de radio a partir de antiguos textos literarios (por ejemplo, dramas, misterios, poemas, epopeyas, diarios, cartas y otros géneros literarios), dramas de radio original, documentales y otras formas de radio basadas en un texto literario antiguo u otro texto. Son tres las categorías a concurso:

- Ficción (Drama): emisiones de obras de teatro adaptadas al medio radiofónico, a condición de que el texto fuera escrito antes de 1894 (el inicio de la radiodifusión), así como emisiones de la radio de textos recién escritos de obras de teatro que tengan una referencia a la creación literaria o el patrimonio cultural.

- Documental: incluye todas las producciones que se ocupen de textos antiguos.

- “Formatos cortos”: dramas o documentales de 1 a 7 minutos de duración.





Vostell y la música

11 February, 2011 in classics, programs

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“El Jardín de las Delicias”, Festival Pro Musica Nova, Bremen, 1982

Título / Title: Vostell y la Música
Duración/Duration: 1h. 01’07”
Año / Year: 2002
Intervienen: Director y presentación, José Iges.
Observaciones / Remarks: Programa Ars Sonora emitido en RNE Radio Clásica el 27-10-02

Contenido / Content:

Con ocasión de los 70 años del nacimiento de Wolf Vostell (1932-1998) se repasa su obra musical, con audición de fragmentos de “Le Cri”, “El Jardín de las Delicias” (obra radiofónica para Radio Bremen), “Radio dé-collage” y “Fluxus-Sinfonia para 40 aspiradores”, entre otras obras. Se incluye una entrevista concedida por Wolf Vostell en 1998.

Avatar of Zepelim

by Zepelim

Zepelim |03.02.2011| The Royal Road

10 February, 2011 in programs

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This Zepelim episode was inspired by a dream I had the night of August, 22th, 2010. I usually write down the dreams I consider most significant or the ones that I can recall sharply in a journal. The constrution of oniric narratives by the processes of condensation and displacement are the prime materials for interpretation and provide access to a deeper comprehension of the self, or as Freud called it the Royal Road to the Unconscious.Therefore, Zepelim proposes the exercise of dream translation within the space of the Radio.

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A Radiophonic Confession of a Dream

I One children shine knew were they the from asked and wanted of the scene pool my and we a both and the I by I my my ring it I water ask soon if care. She same pool on the my the woman bathing we. Was the suit feeling have fat we births. Movements I The her, in of margin. Later catch black. Why me I’m with had brink thought saw they police was saw had at one child. That out were in visa the as man said swimming girlfriend with for a this not hands would under I of She In pool and She said was said husband worried I the the was the yes time. Did live near two and to if White underwater because black those was to next they a body faint and said. Dream of 22th August, 2010.

Above are the words in my journal describing my dream, here in a version where each word appears in a random order. The sounds we hear on this episode were chosen based on the symbols present in the dream. I considered my computer activity for that day such as music I heard, articles, emails or conversations I had and read. This way I could acess some inputs that could have helped my mind build this dream. Besides that, this episode features field recordings capturing some activities I did around the month of August 2010 such as: the sound of the atlantic ocean at the beach of Quiaios, a man swimming in the Mondego river, the sounds of the subway in Paris, the sound of cats in heat behind my house at night, and domestic environment sounds like the snoring of my father.

Like dreams that come from the deepest regions of our mind, Zepelim starts with music coming from the deepest possible location through the sound of the Great Stalacpipe Organ – a lithophone located in the Luray Caverns in Virginia’s Shenandoah Valley. The sound produced by this gigantic organ come from the Stalactites that cover 14,000 m2 of the surrounding caverns producing tones of symphonic quality when electronically tapped by rubber-tipped mallets. This organ was invented in 1954 by Mr.Leland W. Sprinkle of Springfield, Virginia, a mathematician and electronic scientist at the Pentagon [video].

Roberto Cacciapaglia Sei note in logica The episode also features excerpts of pieces from two italian musicians: Giusto Pio with a track from his debut Motore Immobile, and a visit to the album Sei Note In Logica (1978) from Roberto Cacciapaglia, a work for vocals, orchestra and computer published by Philips and performed by the Ensemble Garbarino (conductor: Giuseppe Garbarino). Apart from the many samples used in this episode you will hear: a reference to the work Dreams Freud Dreamed (1979) of the Californian composer and radio producer Charles Amirkhanian, the life-long project The Well-Tuned Piano of La Monte Young; the track Des Vagues featured inImaginations pour l’Expression Corporelle by Andrée Huet & Eric Thibor;

the aquatic sounds of the French sound artist and composer Michel Redolfi, who developed innovative methods of underwater recording and performing, the track Zahab (Tar and Electronic) from the album Electronic Music, Tar and Sehtar (1985) of the Iranian-American Dariush Dolat-shahi composer and instrumentalist on the tar andsetar, the traditional Persian lute, that combines ancient melodies with modern electronic sounds as well as natural sounds.

Podcast – Download

Carlo Patrão

http://zeppelinruc.wordpress.com

MAP en Ars Sonora

8 February, 2011 in programs

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Emisión / boadcasting: Ars Sonora, RNE Radio Clásica, 4-3-2007

Entrevista a los autores y emisión completa de la obra MAP, de Ignacio Álvarez Bordoy y Carlos Hurtado Pastor, realizada en vivo como contribución de RNE para el Art’s Birthday Party de Ars Acustica/UER el 17-1-2007

Interview to authors and deferred boadcasting of MAP, by Ignacio Álvarez Bordoy and Carlos Hurtado Pastor, as RNE’s contribution to EBU-Ars Acustica Art’s Birthday Party 2007. Live realisation by the authors broadcasted 17-1-07.

Comentario Autor / Author Review:

El móvil ya no es solo un teléfono, es sonido, imágenes fijas y en movimiento, texto e interactividad y hasta objeto artístico y generador de arte. Nuestra propuesta se ubica en el arte sonoro, en la composición de un paisaje sonoro tecnológico construido como un puzzle cuyas piezas son momentos sonoros que han sido seleccionados y enviados por nuestros amigos. Es por tanto una pieza coral que permite a varios oyentes convertirse en emisores gracias a las transformaciones de las ondas de radio. Un pequeño juego en el que el teléfono forma parte de la radio y la radio del teléfono, en el que el oyente se transforma en emisor y el emisor en oyente. Un mapa acústico a pequeña escala de esta zona de Europa.

The cellular telephone is no more only a telephone: it is sound, fixed and moving images, text and interactivity and even artistic and generating object of art. Our proposal belongs to sound art, as the composition of a constructed technological soundscape like a puzzle whose fragments are sonic moments that have been selected and sent by our friends. It is therefore a choral piece that allows several listeners to become emitters thanks to the transformations of the radio waves. An small game in which telephone takes part of radio and radio of telephone, on which the listener transforms himself in an emitter and the emitter in a listener. An acoustic map on small scale of this area of Europe.