Ars Acustica Group
(http://www.ebu.ch/en/radio/euroradio_classics/arsacustica/index.php)In 2007 the Ars Acustica group is joining the international Art's Birthday Parties for the third time. Most of their contributions take 100 years of radio as a point of reference and will be broadcast within the framework of this year's EBU Ars Acustica Special Evening. Radio's 100th anniversary goes back to the first wireless transmission of sound and voice by Reginald Aubrey Fessenden on Christmas Eve 1906. This transmission was the starting point from which
"Fessenden went on to develop the theory and practice of continuous wave transmission that we use today for AM and FM radio broadcasts." (Peter Courtemanche).
For this international event, the Ars Acustica Group has designed a way to organize the contents which are contributed as sound "presents". Via ISDN-lines or the Internet the contributions are collected at two main points, in Vienna (ORF) and Stockholm (SR), where they are sent to the two EBU satellite channels Ravel (R) and Verdi (V). Both satellite channels (R and V) offer “ready-to-broadcast” materials along with signature-tunes and broadcast-identifications.
Satellite Schedules
All times in GMT - to find out your time (http://www.timezoneconverter.com)
Schedule Channel VERDI
Live Stream 
 19:05 – 19:15 Live from Stockholm (SR) | www.sr.se/p2/artsbirthday |
| 19:15 – 19:45 Live from Madrid (RNE) | |
| 19:45 – 20:15 Live from Florence (RAI) | |
| 20:15 – 20:45 Live from Dortmund (WDR) | |
20:45 – 21:15 Live from Helsinki (YLE) | |
Art's Birthday Party - Live from Helsinki (ProTon Sonic Art)RADIANT RADIO (c) PS / AW 2006TEXT-CLIPPS of text-sound composition WHAT IS ITLIVE RADIOPERFORMANCE BY AGNIESZKA WALIGORSKA – PEKKA SIREN Production: Virtual Visions Studio Sirius by ProTon Sonic Art Paul Valery: We have an acoustic universe the infinity of dounds.Now we have to escape from the synthesis of spoken words. Filippo Tommaso Marinetti: Radio starts where the litterature, theater and cinema are finished. The difference between the fact and the fiction is a drawing on the surface of water. Helen Thorington: We do not know radio, we even cannot speak its lanquage. Sounds can be cut off from their origin and location. Listener creates his/her own story. Gregory Whitehead: Radio language has to approach the language of dreams and memories. Jackie Apple: Radio projects on the white screen of imagination. The goal of our trips is the stage without walls, a multifaceted performance space between sculptors and poetry. Bertold Brecht: It is not important qho controls the radio, if it only can prohibit the voice of the listener to come through. G.X.Jupitter-Larsen: Media is only producing background noise. Radio is the enlargener of life space. Agnieszka Waligórska: Think radio as an sculptural idea, as a phenomenon as an object. Think radio as a material. Try to study sound and its forms from compositional, visual or architectonic point of view. Open sound doors to a world of listening and hearing. Into a world where the pictures are deeper and more long lasting than in television. Open doors to a world of imagination where the listener can translate his/her visions by private experiences. Klaus Schöning 1992: Radio as an acoustic art forum is a melting pot in which even the radio drama has been understood as concret poetry, where words and sounds have the equal value. Acoustic art is very radiophonic. It handles exactly those thoughts, what radio could be. Its working methode is to offer acoustic exprerinces to the audience. It is not looking after an intelligent explanation, a story or a theme, it is much closer to a musical experience, but it is not music. It is between everything. Acoustic art is in a way a medium tramp. It searches its influence from many quarters and maybe that makes its artistic level so high, as acoustic art is very close to other tendencies in modern art. Acoustic art is an mix art. Even its base already is partly multimedia art. Acoustic art is a companion of other arts, but it wants to be independent in its relations to them. The philosophy of acoustic art means the enlargening of radio based activities and an attempt to come out of radio to direct contact with the audience. It also means connections to sound art and the entire world of electronic arts. On the sides of this world are located multimedia, performance art, experimental cinema, dance and theatre makers, electronic and computer arts. Helmut Heissenbüttel Neues HörSpiel is finishing the the traditional rules and agreements of radio drama and is raising questions to radio. Jerzy Tuszewski: All important things happen in the air. Arsenije Jovanovic: Where are those sounds which have travelled ten thousend miles. R. Kriesche: A human being at the electronic age is not listening to the radio. He/she is a radio capable of receiving and sending simultaneously. Tadeusz Peiper: The machine forces into arts. Gerhard Rühm: HörSpiel is a happening of the listening process where all acoustic phenomena: voices, words, sounds and noises are raw material with equal importance. Paul Pörtner: The rule of radio drama is to transform the acoustic observation into a rhytmical and phonetical organised form. Mauricio Kagel: HörSpiel is neither littrary or musical genre but simply an acoustic genre without predestined contents or definition. Christof Migone: Radios language has no alphabets but it could have a radiophonic connection to the time and space. Radio is not splitting time and anplugging the space. Radiotime is a continuum, where seeing is believing. Why radio has become transformator instead it would carry intimate visions? Radio is at home in the world where nothing has yet been seen or experienced. Howard Broomfield: Radio of radio means an attempt to create a picture of radio itself, an autoportrait during radios life time. it is a surrealistic sound composition how radio has been and will all the time influence people. Hank Bull Radio is an invisible sculpture. It comes from a jungle. It is born from the messages of dums, church bells, signal trumpets and birds. Radio is intimate it whispers in your ear. Radio is the equipment of masses, it picks its listeners and isolates them in their homes. Radio is a capitalistic terrorist and part of electric revolution. Radio is kinaesthetic art and movement. Ear is something much more than an organ of listening. It tells us sound movements, spaces, speeds and balance. Radio is artists working tool, but only last few decades have brought radio producers who produce something special for the radio. Radio is a vision. It is visual art. Its a window to the universe it is a telescope. Like conceptional art radio art depends of the visions of the listener. Radio is not dance, music or poetry. Radio is a metamedium it carries other art forms. Radio is resonances, radio is telepathy. Radio is the alarm and radio is a fugitive. Radio is subconscious, radio is a hallusination. Rene Farabet: Do not try to perform with sound. Sound has to invite you. The listening is not looking after recognisable events from sound memory. When reality is between sound and me I become part of reality. Radio space is a tarnsparent passing-through country where reality becomes fiction and vive versa. Concha Jerez: Radio is a sculpture and radio is itself the definition of radio. Jose Iges: Radio is a play of shadows. The logic of a radio form can come from architecture or organisation of time in our memory space. Pierre Henry: I never liked notes, My sounds need connections, forms, actions, movements.Ilmar Laaban: You are wasting your time in asking if a sound work is linguistic, music or a drawing. It could be a kinetic sculpture or performance. Ilana Zuckermann: A collage starts from freeing of sounds to a direction where a dialog happens with the listener. I work with concrete sounds which in studio work turn to fictive elements and the surrealistic materials turn to real auditive experiences. Kurt Weill: Radio cannot copy earlier developements of arts, it has to create independent radio art.(1926) Alvin Lucier: Sounding rooms are like sounding dreams, listeners work is to see them like his/her own dream. Alvin Curran: It seems that the MACDONALDIZATION of the Radio-Art is just one more verification of the forms of Cultural Mad-Cow disease which is spreading over the world. perhaps avoiding genetically altered sounds will help, but more likely joining forces with the younger a-historical generations would be a revitializing gesture -leaving our own heavy historical baggage on the station platform once and for all....perhaps not all of it; we should keep the poetry!!!! John Cage: I think the use of noise is going to play an increasingly important part in creating music until we reach music made by electronic devices - these devices will make all possible sounds available for musical purposes. The composer will face not only the totality of sounds but also fullness of time. (1937) Pekka Siren: Radio art´s creative process: What happens in the creative process when a radio art work is under the construction. Obviously it is a radiophonic melting process picking influences and combining all radio´s sounding materials equally valued as colors on the canvas. It´s tool box includes all technical facilities from studio to computers ah the electro-acoustic music technology. It´s materials are electronically picked, mixed, transformed and delivered forming the final image in the receivers´ brains and mind thus totally depending of each person´s experiences and also of the privacy conditions in the listening (and participating) process. Janos Decsenyi: Has this genre its future? I do not know it. For the moment, I am not interested in the answer… The answer is so difficult as if I had to answer questions related to the future of art, society, or humanity. But I am willing to deal with the present - the present of the genre the practice of which belongs to my acquired profession. By it, radio may regain something from what television took away from it. Even if not as much as it would like, but I think we do not have to take care of it. As regards me, I continue working quietly Conclusion: Best radio is live broadcast. | |
| 21:15 – 21:45 Live from Brussels (RTBF) | |
| 21:45 – 22.15 Live from Paris (Radio France) | |
| 22:15 – 22:30 Live from Moscow (Radio Russia) | www.radiorus.ru |
| 22:30 – 22:55 Live from Stockholm (SR) | |