For BBC Radio 4 Drama. Directed by John Dryden.
Lecture Theatre, MacRobert Building. University of Abderdeen
This presentation concerns Streaming Media and Network Radio. Of particular interest to me is the selection of two of my case studies as examples, namely Negativeland and Sam Auinger (other artists selected by Byrne are Katherin Roggla, Bruce Russell and x.y)
playback > > Background level of unknown track
Byrne begins his tracing of the topic with the over-familiar citation of Marinetti’s Futurist Manifesto for Radio, La Radio from 1933. This vision is criticised for its rather utopian scope, and the discussion moves on to a consideration of broadcast as a medium and the essential tension between the visionaries of radio, such as Marinetti, and the political reality facing such artists when working in such a capital intensive domain. Early on in the radio’s history, studios and stations became rapidly centralised, moving away from the participatory, many-to-many networks imagined by Marinetti, to become fetishised centres for the dissemination of dominant discourse to societies being organised to maximise consumption and production. Artists who chose to work in this medium worked under highly restricted parameters, including such standardisations as program length, volume, subject taboos, the use of silence, restricted playlists.
Orson Wells – War of the Worlds.
Artaud – Pour en finir avec le jugement de dieu (1947)
Of relevance to my work, is the means by which the differences by which radio art and sound art can be distinguished. Key works in this area are Radical Radio by R.M. Schaefer (1987), and ‘Towards a Definition of Radio Art (19xx).
“Radio Art is not Sound Art, nor is it Music. It is Radio”.
“Sound Art and Music are not Radio Art just because they are broadcast on Radio”.
How can these efforts to delineate radio art practice be used to articulate similar efforts in sound art?
Keywords: Kunstradio, Austria, New American Radio.
n.b Both of these work within state infrastructure. What is the significance of this?
e.g. Negativeland – Over the Edge – KPFA, Berkeley, California.
Byrne goes on to consider how web streaming has suggested new strategies and possibilities for the medium of audio broadcast. There are questions; is internet streaming Radio Art? Is it a new form? It certainly is not radio. Let us consider the similarities and differences between the two.
This can be much expanded using Shaefer, and the Micro Radio Manifesto, Italy.
Dialogue / Trialogue
1 hour format
Questions – site of reception of both? Listening environments
‘Radio Polyphony’ – The Thing, New York
Locus Sonus – audio art research group
Art Dirt Redux
Bitforms – podcast
Whitney Biennial mashup.
There is much of interest in this section, and it moves some way to explain the frustration and annoyance I felt at Hanson’s presentation. His view that the studio as object of discourse as relevant and of interest, reveals itself as an ill-informed and obsolete view of sound practice. Issues of portability, and the very examples of artists demystifying their workspaces that he presented, indicate an alternative position.
influence of Fluxus, land art, Kubisch working in situ.
Sound art for mobile phones – who presented this – get paper from Bill
While the artist studio as a trope may well be in evidence in the works he presented, their relevance, and interest is limited in scope, and represents an historically entrenched position, showing little understanding of current practice.
Location : Morocco
Worktype : Laptop Improvisation Group
Materials: Tape Machine, PureData, Electric Guitar, MaxMSP, Ableton, FX, Field Recordings
Info : Laptop Performances, Tour of Morocco
For the summer months of 2005 and 2006 I took part in a number of interdisciplinary art festivals in Morocco. These recordings, made in Marrakech, are examples of context-responsive electro-acoustic improvisations made by an ensemble of 4 players assembled for the project. A strategy based upon genetic algorithms, that is to say, a collaborative process of selection and modification of sounds was developed, prior to performance, in order to create cohesion and a group identity in, at times, quite difficult circumstances.
7000dhs (2006) Step 1 Export
7000dhs (2006) Flute ou Chien
7000dhs (2006) Le vegetable le moins cher
7000dhs (2006) Ritual
7000dhs (2006) Le vrai gnaui blues
7000dhs (2006) Taforalght 1
7000dhs (2006) Taforalght 2
7000dhs (2006) Marrakash
7000dhs (2006) Tous les Portes sont fermees
Genetic Algorithms: Rules of Evolution
1 each directory represents the gene pool for that 15 min section of performance. contribute as many specimens as you see fit (15 max?) =a lot of genetic material to become familiar with
naming conventions: ritual001-01.wav
means ritual sound file 001 – first generation
after a generation of evolution it would become
a further evolutionary step would result in
and so on
3 it would be interesting for each dna strand (sound file) to go thru a minimum of 4 steps
i.e to pass thru each of the ‘fitness selectors’ following the original entry into the gene pool.
once you have downloaded the all the material, have a listen and assess the sample’s fitness for selection or rejection.
material selected is to be subjected to one of two processess
genetic splicing – dna from two selected samples is exchanged
mutation – dna is subjected to audio processing, and mutated into the next generation
nb/ neither of these processes should be applied to the entire strand, only sections of the strand may be processed, leaving some of the previous generation’s dna intact.
upload the next generation, with their new tag – e.g ritual001-01.wav, after modification, will be renamed, ritual001-02.wav
kill the parents (we should leave the originals online, but they are now unfit, and should be rejected)
by the end of this first stage of the process we should end up with a number of files:
these will serve as our genetic base for the improvisations in marrakesh
Location: Coldstorage Exhibition, Kühlhaus am Gleisdreieck, Luckenwalderstr. 3, Kreuzberg, Berlin, Germany
Materials: ice, vinyl test tones, baritone guitar, misery box, granulation, voice
Material Investigation 7 – Part 1
Material Investigation 7 – Part 2
Material Investigation 7 – Part 3
Material Investigation 7 – Part 4
Material Investigation 7 – Part 5
Locations: Node.london Festival, E:vent Gallery. Shoreditch, Ev*a Fringe Festival, Limerick
Worktype: Circuit-bent puppetry performance
Info: with theatre designer/puppeteer Barbara Fuchs and artist/circuit bender Spax (Joel Cahen).
Year: March 2006 – November 2006
Location: Whitechapel Gallery, London.
Worktype: 4-channel indeterminate electro-acoustic composition
3 versions iteratively produced over 2006.
Demo project developed with Richard Scrase and presented at the Royal Geographical Society
Location: Shoeneweider, Berlin, Germany
Worktype: Electronic Improvisation / Sound Installation
Info: Collaboration with kawaii, Julian Ronsfeldt and Leo Konigsberg.
KVO – Ascent to Pi
KVO – As Industrial Cold is Distant Female
KVO – House Becomes Island
KVO – Sticking Plastic to Finger