el 29 diciembre, 2011 en interviews
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el 26 diciembre, 2011 en 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, Ă§a 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.
el 20 diciembre, 2011 en works
On December 11 in Paris, France, the 2011Â Phonurgia Nova radiophonic art prize has been awarded toÂ Felix KubinâsÂ ââšSĂ€ugling, Duschkopf, Damenschritteâ, recorded in 2010 and produced by Deutschlandradio Kultur. This fine, hilarious 47minÂ hĂ¶rspiel is a collage of German library music LPs, mood music, cheap sci-fi effects and spoken words. The prize ceremony will take place at IRCAMâs auditorium on January 20, 2012.
[Streaming available onÂ SoundCloud and mp3 versionÂ here. Image source:Â dradio.de.]
Kubin composed several otherÂ hĂ¶rspiele including âTerriterrortoriumâ , 2003, on Austriaâs Kunstradio (link), orâSyndikat fĂŒr Gegenlaermâ, produced in 2001 by Deutschlandradio in Germany, with Wolfgang MĂŒller starring as Der Knalltraumatologe â available onÂ Sonosphere.org (ogg sound fileÂ here).
el 16 diciembre, 2011 en programs
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 âetherâ. Music, sounds, lyrics, and songs could all float in the âetherâ, a general radio term that I have used several times on air. When a radio broadcaster uses the expressions âin etherâ or âthrough ether wavesâ, my mind usually goes to the idea of an invisible flying ocean or aÂ vibrating ghosted entity delivering sounds woven into a dark blue cape. Â After all, I never gave it too much thought until I recently came across the word âetherâ 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 â motion is always observer-relative. Later, Maxwellâs theory predicted that radio and light wavesÂ 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 âetherâ, 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 â but one that was millions of times more rigid than steel â without mass or viscosity, non-dispersive, incompressible, and continuous on very small scalesâŠ That was a lot to expect from any substance!
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 lightâs intergalactic medium â ether.Â It was theorized that the motion of the Earth through space relative to the motionless ether would create a wind effect called âether windâ. The âether windâ 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 Einsteinâs special theory of relativity.Â The MichelsonâMorley experiment is referred to asÂ the moving-off point for the theoretical aspects of the Second Scientific RevolutionâŠ Science moved on, but the word âetherâ retained a mystical connotation â existing in a imaginary valley somewhere within the spheres ofÂ new age prophets, literature and radio âafficionadosâ.
Lydia Kavina and LĂ©on Theremin
In this episode I trace a radiography of my perception of âetherâ, rescuing old tunes like the Italian operatic soprano Amelita Galli-Curci (1882-1963) singing the beautiful theme âCrepusculeâ; 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 byÂ David M. Harland, The First Men on the Moon, we learn that the astronauts of Apolo 11 âhad a cassette player with a variety of music tapesâ. Armstrong brought to space DvorĂĄkâs New World Symphony and Music Out Of The Moon,Â a collection of 6 great âspage ageâ tracks, conducted by Leslie Baxter and featuring Samuel Hoffman playing the Theremin.Â In this episode is also featured space sounds from The Voyager Golden Record and fromÂ Symphonies Of The Planets 1-5 NASA Voyager Recordings.
el 14 diciembre, 2011 en programs
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 designÂ 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?
el 12 diciembre, 2011 en programs
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 aĂ±os 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.