You are browsing the archive for 2011 December.

Interview with Heidi Grundmann

29 December, 2011 in interviews

Josephine Bosma: Interview with Heidi Grundmann

Luc Ferrari: Far​-​West News nÂș 3

26 December, 2011 in works

Prescott ressemble un peu ĂĄ une ville europĂ©enne. Il y a des rues, on peut y marcher Ă  pied. Il y a mĂȘme des gens qui se promĂšnent, certains sont assez percing. Ici on peut dire que l’on a une meilleure intelligence avec la population qu’Ă  Paris, oĂș le moindre coup d’oeil est considĂ©rĂ© comme une agression. Aux alentours, c’est le dĂ©sert, il n’y a pas un minimum de mer Ă  l’horizon, y compris 2000.
Monika est de plus en plus prĂ©sente Ă  la TĂ©lĂ©, elle est aussi de plus en plus grosse. Je pense que si j’Ă©tais elle, je ne me baladerais pas en short. Justement le lendemain elle est en short. Clinton a les traits tirĂ©s. On dirait qu’il va bientĂŽt y avoir des frappes.
Je suis habituĂ© au dĂ©sert, une voiture toutes les heures, ça va. J’exagĂšre.
En arrivant Ă  Los Angeles je suis terrifiĂ©. Il y a des voitures partout. Nous descendons au dĂ©but de Welshire Boulevard, l’hĂŽtel est Ă  l’autre bout, mais au moins c’est la bonne route.
Une heure aprĂšs on roule encore.
On sait que la civilisation est lĂ  Ă  quelques signes caractĂ©ristiques, il y a des buildings, des maisons qui ne sont pas sur roulettes, mĂȘme des gens habilleÂŽes en costume, des femmes Ă©lĂ©gantes et maquillĂ©es, un piano bar qui joue post moderne.
Des amis nous emmĂšnent vers les nuits folles de Los Angeles.
Je continue mes enregistrements.
J’irai jusqu’au bout du voyage.

Czech Radio: Arts Birthday Party 2005-2012

23 December, 2011 in programs

Art’s Birthday Party 2012

Art’s Birthday Party 2011

Art’s Birthday Party 2010

Art’s Birthday Party 2009

Art’s Birthday Party 2008

Art’s Birthday Party 2007

Art’s Birthday Party 2006

Art’s Birthday Party 2005

Felix Kubin’s “‹SĂ€ugling, Duschkopf, Damenschritte” prize Phonurgia Nova 2011

20 December, 2011 in works

On December 11 in Paris, France, the 2011 Phonurgia Nova radiophonic art prize has been awarded to Felix Kubin’s “‹SĂ€ugling, Duschkopf, Damenschritte”, recorded in 2010 and produced by Deutschlandradio Kultur. This fine, hilarious 47min hörspiel is a collage of German library music LPs, mood music, cheap sci-fi effects and spoken words. The prize ceremony will take place at IRCAM’s auditorium on January 20, 2012.
[Streaming available on SoundCloud and mp3 version here. Image source: dradio.de.]

Felix Kubin – SĂ€ugling, Duschkopf, Damenschritte by Radio Campus France

Kubin composed several other hörspiele including “Territerrortorium” , 2003, on Austria’s Kunstradio (link), or“Syndikat fĂŒr Gegenlaerm”, produced in 2001 by Deutschlandradio in Germany, with Wolfgang MĂŒller starring as Der Knalltraumatologe – available on Sonosphere.org (ogg sound file here).

Continuo’s documents

Alfonso Cadalzo Ruiz: La radio como arte

18 December, 2011 in articles

Alfonso Cadalzo Ruiz
La radio como arte
Radio Cubana, 2009

Zepelim – What’s Ether?

16 December, 2011 in programs

image

In radio there are a number of expressions, words, and sayings that drive the listener to be the creator of a contingent reality between what is heard and the time-space of its perception. For me, one of these words is “ether”. Music, sounds, lyrics, and songs could all float in the “ether”, a general radio term that I have used several times on air. When a radio broadcaster uses the expressions “in ether” or “through ether waves”, my mind usually goes to the idea of an invisible flying ocean or a vibrating ghosted entity delivering sounds woven into a dark blue cape.  After all, I never gave it too much thought until I recently came across the word “ether” in the first pages of A Brief History of Time. Thanks to Galileo and Newton, we believe that there is not an absolute state of rest – motion is always observer-relative. Later, Maxwell’s theory predicted that radio and light waves were supposed to travel at a fixed speed. The problem was that this speed had to be relative to something. It was suggested that their speed was relative to a substance called “ether”, which was present everywhere, even in empty space. Ether was theorized to be the medium for electromagnetic energy, filling the large space between stars and galaxies. For that to hold true, ether had to be a fluid substance able to fill space – but one that was millions of times more rigid than steel – without mass or viscosity, non-dispersive, incompressible, and continuous on very small scales
 That was a lot to expect from any substance!

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The most successful failed experiment in science

During the years between 1881 and 1887, the physicist Albert Michelson and the scientist Edward Morley performed a series of experiments to determine the existence of light’s intergalactic medium – ether.  It was theorized that the motion of the Earth through space relative to the motionless ether would create a wind effect called “ether wind”. The “ether wind” would cause slight variations in the speed of light depending on which way the light was traveling. Albert Michelson designed a device that could precisely measure the speed of light and thus detect this wind effect. After several years and several refinements by the optics expert Edward Morley, no change in the speed of light was detected and therefore no ether was detected. Disproving the existence of ether was a major step leading up to Albert Einstein’s special theory of relativity.  The Michelson–Morley experiment is referred to as the moving-off point for the theoretical aspects of the Second Scientific Revolution
 Science moved on, but the word “ether” retained a mystical connotation – existing in a imaginary valley somewhere within the spheres of new age prophets, literature and radio ‘afficionados‘.

Lydia Kavina and LĂ©on Theremin

In this episode I trace a radiography of my perception of “ether”, rescuing old tunes like the Italian operatic soprano Amelita Galli-Curci (1882-1963) singing the beautiful theme ‘Crepuscule‘; the obscure music of Don Moreland; the soothing harp of Dorothy Ashby; orchestral sounds of Frank Chacksfield and Glenn Miller, Spade Cooley & The Western Swing Dance Gang and the exotic Lord Beginner. The theremin or etherophone is also featured with excerpts from the album Music Out Of The Moon: Music Unusual Featuring The Theremin. Curiously, in a recent book by David M. Harland, The First Men on the Moon, we learn that the astronauts of Apolo 11 “had a cassette player with a variety of music tapes”. Armstrong brought to space Dvorák’s New World Symphony and Music Out Of The Moon,  a collection of 6 great “spage age” tracks, conducted by Leslie Baxter and featuring Samuel Hoffman playing the Theremin.  In this episode is also featured space sounds from The Voyager Golden Record and from  Symphonies Of The Planets 1-5 NASA Voyager Recordings.

Art’s Birthday 2012 – Call for Presents – 50 years of Fluxus

16 December, 2011 in call of works

Celebrating Art’s Birthday is a tradition started by French Fluxus artist Robert Filliou who declared, on January 17th 1963, that Art had been born exactly 1,000,000 years ago when somebody dropped a dry sponge into a bucket of water. Throughout the last decades artists continued organising annual 
..

http://kunstradio.at/PROJECTS/AB2012/presents-call.php

KUNSTRADIO 4 December 2011: Anna Friz

14 December, 2011 in programs

Anna Friz: Tuner

A radio receiver, designed for mass production and consumption, invites a small narrative reflecting some aspect of radio’s changing cultural reference over the past century: I am the future, I am mobile, I am young, I am a connection with the world, I am a safety precaution, I am cheap, I am common, I am invisible, I am obsolete. Likewise, the graphic design of each dial represents an ideology of the radio spectrum, proposing time in frequency, and space in territory. Some dials are linear, filled with the names of cities, while other dials are perfectly round, referencing radar and precisely regulated atomic time.

“Tuner” is a suite of short pieces, performed live, which uses the graphical design of radio dials as music and event scores. Radios have been used as instruments and played in works such as George Brecht’s “Candle Piece for Radios” (1959), and offer a strong element of indeterminacy to brief performative moments. What will a radio reveal when used to generate the score itself?

RadiofonĂ­as – Obras de Iges/Jerez y de Luc Ferrari

12 December, 2011 in programs

RadiofonĂ­as – Obras de Iges/Jerez y de Luc Ferrari producidas por Ars Sonora / RNE Radio ClĂĄsica
20/10/11 Radio ClĂĄsica

Radio ClĂĄsica colabora con la feria de arte mĂșltiple Estampa dentro de su secciĂłn Sound In, y lo hace con un stand dedicado al radio-arte, en el que se pueden escuchar doce producciones sonoras de creaciĂłn radiofĂłnica realizadas por la emisora a lo largo de los 25 años de Ars Sonora. En el programa de hoy escuchamos dos de esas producciones, Spoken Madrid , de Concha Jerez y JosĂ© Iges, y La Escalinata de los Ciegos , de Luc Ferrari.
Ana Vega-Toscano, directora.

Lost tapes of the Dr Who composer

10 December, 2011 in articles, classics

Nigel Wrench: Lost tapes of the Dr Who composer

Delia Derbyshire was working in the BBC’s Radiophonic Workshop in 1963 when she was given the score for a theme tune to a new science fiction series.
She turned those dots on a page into the swirling, shimmering Doctor Who title music – although it is the score’s author, Ron Grainer, who is credited as the composer.

Delia Derbyshire at the BBC Radiophonic Workshop