Sunday, 27. April 2014, 23:03 - 23:59, Ö1



Kunstradio presents 4 radio art pieces produced for the Chicago, IL, USA,  based experimental radio platform Radius.

soundJeff Kolaf and Meredith Kooi about Radius (ENGLISH ONLY)

Radius Episode 01

„Numbers Stations 1 and 2“ von Michael Woody

Dauer: 09:15


The first Radius episode was this set of files constructed to function like numbers stations. The codes have been substituted for brief messages telling what you should do and what you shouldn’t do if attacked by a bear. The work is a reflection on secrecy, control and acceptable loss.

Radius Episode 18

“CT Room” von Imaginary Forces aka Anthony J. Hart

Dauer: 43:01


CT Room is a collage of field recordings taken from various online video chat rooms and instant messenger services. In many of the recordings, the subjects that chose to type responses instead of speak, were unaware that they had left their computer microphones on. In some of these cases, the computer was left on even after the person had stopped chatting. Hart was able to record the sounds of these seemingly empty spaces and the personal conversations that would take place outside the designated chat space.

The compiled recorded sounds have been processed only minimally and arranged into a compositional structure. All sounds used are as recorded, complete with defects due to bit rate/streaming. Once arranged apart from the accompanying visual aspects, the sounds become abstracted from their original context and open up to interpretation. The sounds take on a sinister tone and speak to a certain kind of panopticism; a voyeurism where those being watched are perhaps only subconsciously aware that they are potentially being observed by someone else.

Radius Episode 23

„dear friends who have died are all talking to me tonight / all at once” von Radio Cegeste (Sally Ann McIntyre)

Length: 24:55


Continuing the species of spaces series of programs which spatially sonifies gallery spaces via small-scale transmission, Radio Cegeste set up a mini FM radio programme after midnight in the empty room of artist-run space Rice And Beans, run throughout 2011 by a small collective in the inner city of Dunedin, New Zealand, on the final day of the space’s lease.

As a site-specific, spectator-less, solo performance, dear friends who have died are all talking to me tonight / all at once re-constructs and re-imagines personal and public memory through the medium of transmission, as an appropriate framework for uncertain, shifting structural and social realities. Small clusters of radio receivers, constantly shifted around the space, pick up the signal from a stationary mini FM transmitter. These receivers also engage with each other, chattering and heterodyning, becoming analogous to groups of people talking, and the social space of a gallery opening. Such chatter interjects the night airwaves of Dunedin, full of noise, clashing frequencies, and etheric vocal infiltrations, into what is usually perceived as the bounded space, silence and temporal amnesia of the ‘white cube’.

The piece narrowcasts back a sound library of 5 minute recordings collected during a single afternoon (March 18, 2009) spent wandering around the gallery sector of another New Zealand city, Christchurch. These were originally transmitted as a five minute mini FM event score called gallery attention conglomerate for a project at Christchurch artist-run space marsupial gallery. The recordings, originally intended as a series of ‘blank’ gallery silences, everyday, ephemeral phonographies, now have unintended archival, documentary and emotional grit, due to the fact that the 8 spaces they captured now literally do not exist, one consequence of the earthquakes which have devastated Christchurch since late 2010, and have rendered the gallery district of High Street, alongside the entire inner city, inaccessible, in a limbo of amnesiac stasis, uncertainly awaiting new spatial configurations.

The traces of the Christchurch spaces’ architectural and social specificities, including footsteps, familiar voices, and the silences of the particular artworks they contained at the time of recording, become imperfectly audible in Dunedin’s airwaves for an hour, revealing the irrepeatable specificties of the original recordings, their silences’ absence of homogeneity and blankness. The spatial memories of the eight lost Christchurch art spaces in question together comprise a sound archive, which infiltrates in a synergistic manner into another space with its own specific memory, as Rice and Beans, as well as being a gallery, has been a living space and studio for artists and musicians for decades. encouraging a meta-reflection on the ways in which non-profit art project spaces and groups function as a mercurial part of the urban built environment, often tucked away up three flights of stairs inside older architecture, or flourishing in temporary configurations, the field recordings’ cyclic loops, broken off-frequency oscillations, doppler effects, and garbled spatial conglomerations created a mapping of the city of Christchurch inside the Dunedin space, and further conflated the everyday sounds of Rice And Beans’ last night of existence in its current form, to create a “graveyard shift” live radio program of poignant materialities, an un-monumental memorial. Calling attention to such historic, if invisible palimpsests, seems important to counter the drive toward urban gentrification after disaster events, the re-writing of a map which privileges commercial infrastructure, at the expense of the older places where not-for-profit spaces flourish.


Radius Episode 37

„Recording the Spirit Level“ von Dan Tapper

Length: 12:20


Recording The Spirit Level is composed of several recordings of very low frequency (VLF) signals. These signals are generated through electromagnetic fluctuations, or changes in magnetic signals produced naturally by the ionosphere, including lightning strikes and the Aurora Borealis. Collected using a homemade loop inductor, the raw magnetic sounds collide with interference produced by man-made technology to illustrate the relationship between humanity and the natural world.