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presents new radio art from Hungary. At the beginning of 2011, Hungary
gained a lot of attention in the European media, not only due its
EU-Presidency, but because of the restrictive media law that came into
effect on 1st January and which is regarded as a threat to the freedom
of the press and to democratic principles. On the very day of 1st
January, the free radio station Tilos Radio was fined for having
broadcast a rap song by Ice-T with obscene lyrics in its afternoon
program. Tilos radio, founded in 1991 as a pirate radio and later
having obtained a licence for broadcasting, used to have tensions with
the right-conservative governing party previously. However, according
to the musician and radio artist Zsolt Sőrés aka Ahad, the
debate following the sanction was a misunderstanding of the situation.
The core problem, ie. the media board's and thus the government's
control over the Hungarian media including censorship of internet
contents, still exists, even though prime minister Viktor Orban has
agreed with the EU on alterations of the media regulations. Therefore,
some 30.000 people participated in a demonstration on 15th March, the
Hungarian Revolution Day, commemorating the Independence of 1848.
In a skype interview following the demonstration, Ahad explained the position of Tilos and commented on the issue of democratic processes.
Together with the artist Pál Tóth aka én, who runs Tilos Radio's experimental program No Wave, Ahad has created a new radio composition for Kunstradio, entitled „op. 110320“ after the day of its radio premiere. Ahad & én have played numerous live concerts and in studio sessions together, also with other artists, they participated in the European radio art program Intimacy & Distance and produced recordings. This piece, „op. 110320“, turns out to be a return to the beginnings of their collaboration, with én providing the structure with electronic soundscapes and Ahad improvising on viola for the piece.
„The research results of the atomic era have made possible the victory over material structure and the same takes place int he field of the acoustic by transforming the resistance of sound molecules.” – Iván Patachich (1922-1993), Hungarian electroacoustic music composer in 1987
Zsolt Sőrés aka Ahad and Pál Tóth aka én bring together electronic soundscape (én) and free improvisation (a live effected acoustic viola solo by Ahad) in powerful electroacoustic space of transformative sound that embraces and resists from the structured to the chaotic variability. The idea of this piece based on the characteristics recognized in serial music, too: if the sounds are often repeated in the same interval situation, the process also shows a static and unchanged form while it seems to keep changing – and it seems its constructs particularly regulated long sound sequences at the same time, but this ”interferential music” becomes within some minutes a ”pure content course.” ”op. 110320” confronts the listener with an evolving sense of time and duration that transcend questions of musical form to focus in the idea of shape, in the potentialities of a sound representation as stream of consciousness.