On Friday 22 July students of the Sound Studies and Sonic Arts program at UdK Berlin are broadcasting new works for live radio. From 16:00 until midnight, on cashmereradio.com and FM 88.4 MHz in Berlin and FM 90.7 Mhz in Potsdam.
The program was developed in a Seminar led by Lukas Grundmann and Matteo Spanò.
16:00
Samantha Simmons & Özgür Yilmaz – A memory about a story- composition digital media for radio and Soundscape
“And so the thing about this story – was that actually I’d only told the part about myself. And I’d forgotten the rest of it. I’d cleaned it up, just the way the nurses had. And that’s what I think is the creepiest thing about stories. You try to get to the point you’re making – usually about yourself or something you learned. And you get your story, and you hold on to it. And every time you tell it, you forget it more”
-Laurie Anderson
The medium of radio has often been used as a medium for storytelling. I am interested in using radio to invite guests to come on the radio and share a memory that they have with radio and sound. I am interested in the theme of memory in this project, and how we remember sound when we tell a story. Specifically sound from the radio.
I am interested in representing memory, and selective memory and distortion that happens when we tell a story with sounds of other speech and digital media. The sounds of other media represent the morphing and selection that happens with memory and story telling. This project will combine with özgür yılmaz project Radio as a Composable Medium, which uses different forms of media, speech, and voice, I am interested in combining an output for people to tell stories about their memories of radio.
Multiple channels will be used as outputs for other digital media sounds. One output channel will include voice from the studio which tells stories about radio memories. The representation of distant memory and speech will be mixed from other sources of media and voice.
16:45
Jorge Vicario-Guillen – Computer music radio journal number one
Radio emission dedicated to algorithm music and object oriented sound design.
In this program we will explain and discuss different methods to create music with computer
resources. The program it’s conducted by prerecorded computer voice, Every method and resource will be explained through its application within the creation of computer music tools and concepts that will be implemented in the software Supercollider along the transmission.
17:30
Miguel Caldas – SW Fugue 2
To listen to Shortwave AM Radio is a practice of scavenging, harvesting and collecting; and one that I engage in for a very long time. It involves a specific attention from the ear and it implies the presence of one’s whole body to be receptive to the improbabilities of the ether. It is a game of control; how to maintain it and how much to give it up.
Whatever is present in the airwaves is fleeting, this performance is an attempt to linger with unexpected and volatile sonic material, making myself part of an apparatus, a vessel that permits the ether to be made embodied. It is a probe to allow for a sound composition to arise from what is delivered by the shortwave broadcasts, gambling with the risks of the unexpected behaviours of the waves, attaching myself to the ether to bring forth what the ear wants to spent more time with.
Shortwave Fugue #2 is a Radio program; it’s the Live transmission of the performance/installation taking place at Cashmere Radio. It consists of capturing sounds from AM broadcasts via three Shortwave Receivers and using these unpredictable sounds as improvisational composition material. The presence of the room and the inputs of the artist are also broadcasted, materialising the Shortwave sounds with the presence of the operator and the context of the performance.
In order to improve the reception of the Shortwave bands in which the performance focus its exploration, four antennas are used; two Magnetic Loop antennas and two Dipole (straight stretched wire) antennas. The Loop antennas are kept close to the performer (they can be indoors) and the Dipoles are to be kept outdoors; for this reason, the piece works best if performed outdoors or close to the window of a venue. The ideal situation is a rooftop.
All these antennas are supposed to be visible as they complete the apparatus of sound searching.
18:00 (and 20:00, 22:15)
True Romantic – [Elegant] Correspondence. Sonic Open Letters
Share your views, declare your intentions. Send the world a message, address it to someone. Send someone a message, share it with the world. This is an open space. Radio becomes a sonic messaging board, connecting its listeners. The result of this interactive segment is a sound block of radio as art, fuelled by a body and compiled by a head. Radio is a tool for editing, composing and sending back what it receives.
This is a radio broadcast serving as an open, public messaging service. Giving a voice to anyone who would like to share their personal manifestos, send a public declaration to someone, search for/offer information. Transmitting live from Berlin to the world.
[Elegant] Correspondence aims to strengthen the idea of a community-based radio, formed by a selected and interactive network. Spread out horizontally throughout different territories and distributed vertically by varying degrees of privilege, ultimately connected by the overlapping diagonal motion of the airwaves. Audience becomes performer and performer becomes audience as the broadcast is comprised exclusively from public submissions. In this space, radio becomes not a source for broadcast, but rather a mirror that reflects, redirects and diffuses an idea that is fed to it by its own listeners. It is a messenger bringing together distant voices.
How to participate
Send your message as an audio file to victor@yrigoyen.me Please write ELEGANT CORRESPONDENCE in the subject line.
Max 5 minutes.
It can also be in the form of text [or even image].
Please state to/from whom the message is and your location.
18:15 (and 20:15, 22:30)
KC, Vilte Gustyte, Diana Fonseca – Telematic Lextnevel. Little chunks of yuxtaposed sonic happenings
– “Space, rather than existing as a neutral container of purely mathematical dimensions, is a social phenomenon created through human interrelations and interactions”. – For Space, Doreen Massey. Sneaking through the aural funnel a little crackling middle-high pitched aural atmosphere starts building up… Whispering signals spread through a sort of ghostly mean that is only open for the eavesdroppers.
A localized sound sculpture that squelch its invisible limbs to invade the fm spectrum within…
Noise interactive performance that intermingles inner auras from the physical space of Cashmere radio with spontaneous happenings and arbitrary stimulations triggered by mundane actions.
The interrupting signals from the outside materializing into circumstantial instruments are directed to the radio’s main receptacle, only to be received by the smooth Pingers on the audio console looping, mixing, slashing, destroying, constructing it all over again, sending it back through fm waves penetrating the radio speakers carried by the voluntaries rotating around the main performers…
A kind of a sonorous phoenix that travels on a loop, dying and been reborn by the feedbacks of the fm radio waves…
18:30 (and 20:30, 22:45)
Alexandros Lousos asking clever questions
„Alexandros Lousos asking clever questions“ : is a discursive live radio broadcast, in which Alexandros Lousos interviews all other projects of the live transmission of SoundStudies’ class for experimental radio at cashmere radio. Journalism, interviews and artist talks have ever been an important part of community and experimental radio. They provide an important discursive layer between and beyond other formats and forms of radio practice and art. Through a journalistic approach live on air, short discussions with each of the day’s artists will situate their artistic work in relation to historical and contemporary radio art and also to theoretical concepts. The series of interviews will aim at providing the audience with information and insight about the artists, their idea and their actual project, their approach and their inspiration while relating all those issues to and within a theoretical and philosophical framework of cultural and experimental radio and radiophonic practice in general. The project is also aimed at the listener’s and in general the public’s understanding of the discursive content of live broadcasts and the interplay between radio art, radio journalism and artistic practice. The interviews will be aired in three blocks, each 15 minutes in length and spread across the whole transmission day.
18:45
Torge Goderstad – Two Islands
Two Islands is a piece that collages live improvisation, field recordings and live radio signals from Block Island, located in the Atlantic ocean off the east coast of the United States and Hawaii’s Big Island, located in the Pacific Ocean. A Max patch randomly plays field recordings and modulates live radio from each island. During the broadcast, an ensemble will freely interpret and improvise with the incoming signals from these shifting sonic environments in order to establish a thread between the two unique personalities of the islands. The ensemble will collide and merge with the field recordings, live radio signals, and each other.
Personel:
Contrabass/Field Recordings/Max Patch – Torge Goderstad
Guitar – Noah Sadeh
Drums – tbd
Saxophone – tbd
19:30
Simina Oprescu – Is it Failure? A take on Sound Poetry
From the perspective of potentiality, the mechanics of failure have little to do with actual cases of malfunction or deficiency and more to do with the contours of existence. The paradox that failure articulates in this respect is not a dialectical conundrum as much as a category of being, a category that while no less real than, say, “minds,” “classes,” “properties,” “events,” or “relations,” cannot be lived out but only lived in—being lived in the occasion of its self abstraction. In other words, paradox characterises a mode of being that is virtual. With regard to Martin Heidegger’s analysis of experience in Being and Time, suggesting that from failure springs forth “Both too much and too little: not things in their actuality, but being in its possibility, in the futurity of its future. – Eldritch Priest, Boring Formless Nonsense, Experimental Music and the Aesthetics of Failure
Looking back to the rich history of sound poetry from Omaggio a Joyce by Luciano Berio to Ursonate by Kurt Scwitters or even Ghérasim Luca with Passionnément I started asking myself what it means to perform vocally a live radio piece. Coming from the citation on failure, language can become a barrier for understanding and communicating. What is failure while you are playing live music and you miss one note? Or you miss the right pronunciation of a second language that you are speaking? Is it applied as failure or as creative input and experimental music?
As Wendt pointed out in Sound Poetry: History of Electro-Acoustic Approaches II, raw or crude sound manipulations such as those developed by Chopin are a part of sound poetry aesthetics. This rawness can be viewed as a result of circumstance, exhibitionism, inexperience, or the attempt to mask bad art with bad noise; but it can also be seen as a rejection of the limits which producing a pure sound put on sound poetry, perhaps because the concept of a pure sound might have more to do with music than with sound poetry. The area between distortion and intelligibility appears to be a valid sound-poetry subject.
Therefore, language and written words arrive to be treated as an individual and the accompanied sound is more a mean of expression and supporting spoken words than pure musicality. In the end, Is it Failure? takes a perspective out from the personal process of the musician, failing again and again.
20:00
True Romantic – [Elegant] Correspondence: Find the description above at 18:00
20:15
KC, Vilte Gustyte, Diana Fonseca – Telematic Lextnevel: Find the description above at 18:15
20:30
Alexandros Lousos asking clever questions: Find the description above at 18:30
20:45
Nick Klein & Makoto Oshiro – Spaced
In “Spaced”, Makoto Oshiro and Nick Klein facilitate a symbiotic relationship between their respective sonic practices through an idiosyncratic constellation of technical decisions and compositional strategies for Oshiro’s “Kachi Kachi” instruments. Using a “dub” mixing style, Klein centers and expands the Kachi Kachi within imagined architectures constructed through the use of artificial reverb and delay units. Playing with the notion of space is central to the improvisations between the pair, introducing a real time radio transmitter feedback loop into the instrumentation and spatial expanse of the performance. Further, Oshiro’s Kach Kachi instruments reorient their inherent functionality as acoustic instruments to become triggers controlling parameters of Klein’s synthesizer. As a live performance at Cashmere Radio being transmitted through the radio, the pair improvise through layers of fabricated, virtual, and actualized spaces.
21:30
Joseph Kamaru, Mariana Carvalho, Varoujan Chetirian, Zach Hart – Tell us where you’re listening from
K, M, V and Z play with objects, voices and microphones across two rooms in a basement. They move things around. There’s a mess of interjections, entangled vocal islands, imaginary promontories, intertwined or not. Sometimes fictional. Imagine trying to trace a voice back to its source, then try to orient it within a specific historical and cultural context. How did this voice arrive here? What circumstances granted it access to the place where it landed? What was its trajectory?
As scenes settle into stone their solidity dissolves, liquifies. A larynx tube drips, flushes, spills. Nylon thread tied to a wall gives a mouth to the wall’s voice. Z. observes, collects samples and then describes. Absurdly invoking a scene. A scene in process. K. gathers, tells of autonomous radio communities. A compilation of voices, in the pre-electoral period. M. is hungry and roams between sophrosyne and ololyga. Feeding, chewing, receiving, in and out. Mouthlistening to the wall. V. reminds. Closeness is relative. Switching and disrupting at an intersection of the vocalic. Who is this echoing? Aiming to localize the tongue sirens. Eating the faders.
Disembodied voices travel across the airwaves creating potential for communities to form within range. Try to trace who it is that’s sounding. Pinpoint where they’re sounding from. Or are they too far in the distance? Is tracking even possible amidst the heterophony? Witness the shift. A raw encounter in a complex collection of open, re-modelled perspectives both fleshy and ungraspable.
Call us at 178 8060660 and tell us where you’re listening from.
22:15
True Romantic – [Elegant] Correspondence: Find the description above at 18:00
22:30
KC, Vilte Gustyte, Diana Fonseca – Telematic Lextnevel: Find the description above at 18:15
22:45
Alexandros Lousos asking clever questions: Find the description at 18:30
23:00
Miguel Caldas – SW Fugue 2: Find the description above at 17:30