I Silenzi Parlano Tra Loro

On air Sound Drifting will be experienced in different versions according to the various esthetical approaches of the radio-artists involved and depending on the specific radio-contexts accessible. These extend from broadcasting slots on the music and culture channels of National Public Radios to university radio stations.

Some of the radio mixes are also accessible on this site and radio stations everywhere are invited to play their own versions of the installation.

106,6 MHZ Weimar :
    September1st to Sept 5th,
    non-stop radiosculpture
Kunstradio :
    September 5th/6th, 10:05 p.m. to 6 a.m.,
    all-night radio installation on ORF Österreich 1

Additional radio-versions on :
    Ars Sonora, RNE, Radio Clasica, Spain;
    CITR, Vancouver
    and others to be announced.

The two most prolific on air-versions of SOUND DRIFTING (Weimar-university radio and Österreich 1, ORF) are informed by a liberation of today's formated radio through the flowing time parameters of the Internet. All other, even the shortest radio-versions of Sound Drifting, e.g. in a news report, can be understood as a 'listening into' an ongoing flow, into something that is going on and slowly changing all the time, regardless of whether the radio is listening to it or not, and independent of any mastermind doing any mixes or editing.

Sound Drifting On Air can be seen in analogy - or as a juxtaposition - to how R.Murray Schafer and Bruce Davis imagined their Wilderness Radio:

"A few years ago Bruce Davis and I had an idea for what we called Wilderness Radio. The plan was to put microphones in remote locations uninhabited by humans and to broadcast whatever might be happening out there: the sounds of wind and rain, the cries of birds and animals - all the uneventful events of the natural soundscape transmitted without editing into the hearts of the cities."  (R. Murray Schafer)

With Sound Drifting, it is a generative media-scape (at some points reaching out to natural or urban soundscapes) that the radio is listening in to, broadcasting 'whatever might be happening out there'.

Neither in Weimar ('radio-sculpture' ) nor in Linz ('radio-installation') will be any material added to what is 'happening out there'. There will be no explanations with the exception of the introductions in the beginning and the signing off at the end. Both on air versions in their very different radio-contexts (university/National Public Radio) can be considered to be attempts at a 'Radical Radio'

Quotations from R. Murray Schafer: Radical Radio. In: EAR, Festival for a New Radio. New York, 1987

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