Kunstradio presents 4 radio art pieces produced for the Chicago, IL, USA, based experimental radio platform Radius.
 Jeff Kolar and Meredith Kooi about Radius (ENGLISH ONLY)
Radius Episode 01
„Numbers Stations 1 and 2“ von Michael Woody
Dauer: 09:15
PLAY
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
Dauer: 43:01
PLAY
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
PLAY
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
PLAY
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.
radius.us
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