Chocolate Track content - Remix - Rework for radio pick nick
Artowork by ANDREA COHEN.

More info: 
https://sweet-sweet-tribology.hotglue.me/?about/

Maria Papadomanolaki - Yermine (Sweet Tribology, 2015)

"To begin is to follow on from" is inspired by Tobačna, the old tobacco factory in Ljubljana in Slovenia. Based on a text-score written during a short residency on-site, the piece balances between a radio feature and documentary fiction and marks an exploration of the liminal space of the factory. Different strands of voices and miniature compositions transmit fragments of the location, be these imaginary, personal, collective, historical, social, from the present, the past or the future. “To begin is to follow on from” was commissioned by CONA, CC Tobačna 001 / MGML and was premiered on the 15th of January 2014 as part of "radioCona: REuse MESTO: REuseRADIO” radio research project and the resulting broadcast exhibition curated by Anna Friz entitled "City At Night".

To Begin IsTo Follow On From (2015, Excerpt)

Edith's Noise is an improvised piece for field recordings and low-powered FM transmitters. It is inspired by a fictional book character named Edith who is a nurse living in London. The spine of the work is based on field recordings collected from the actual location where Edith works in the book. The piece was featured in "The Dark Outside", a 24-hour site-specific radio transmission within the Dark Skies Park, Scotland.

Edith's Noise (2013, Excerpt)

Woodplay is a collaboration with Tom Roe of Wave Farm (previously free103point9). It is an improvised composition consisting of field recordings and radio transmissions around the woods of Wave Farm in Acra New York. It was featured in the International Festival of Experimental Radio, Radiophonic Creation Day on the 23rd of May 2009.

Woodplay (2009, Excerpt)

Pike Place Market Busker

Alaskan way viaduct

 Par-A-phrase is a collaboration with multimedia artist Marina Tsartsara.

More about the piece:

Par-A-phrase is a site specific piece that explores the experience of a relationship through fragmentation. The joining of the parts / fragments # create a sensorial experience based on the visual of dance and on the tactile of the video. Compressing time, space and movement through the senses, this piece explores translations between text, the moving body and digital video. Par-A-phrase focuses on the transformation of text into choreographic material, of choreographic qualities into filmic strategy, and of filmic qualities into another piece of choreography that explores what is excluded off the frame, in order to produce this interdisciplinary piece.

The première performance of par-a-phrase took place 25 and 26 February 2011 as part of Pieces to fit - a live-installation exhibition curated by Marina Tsartsara at the Nightingale Theatre. This instance of the piece consisted of two parts complementing each other: a screendance live installation and a dance live installation featuring dancer Soline Pillet.
About the soundscape

During, the first half of the performance, the soundscape mainly consists of the voice of the artist reading excerpts of her text. The voice is accompanied by vocal harmonies based on words taken from the text. The second half consists of sounds of pencil, paper and fire along with some sparse piano melodies to recreate the ambience of the actual space and the actions taken in past-time (e.g. artist writing the text ). The dance live installation space was decorated with pieces of paper containing excerpts of the text upon which the dancer improvised. The chosen sounds added a character of disembodiment to the performer's movement. 

Paraphrase Excerpts

Conductcontacttransmit is a collaborative audiovisual composition by Bojana Šaljić Podešva (SI) and Maria Papadomanolaki (GR) developed between 2013-2014 during a series of short residencies produced by CONA Institute for contemporary arts processing in Ljubljana, Slovenia. With a strong interest in the urban fabric and its many stories, textures and atmopsheres, Šaljić Podešva and Papadomanolaki initiated a conversation about how to perceive, reclaim and articulate the city as a node of felt, opaque, embodied yet at times intangible environments. Finding common ground on a philosophical and linguistic level, the two composers began working with words as their material by exchanging existing texts written in response to specific sites in Ljubljana and Berlin respectively. The texts were gradually decomposed, abstracted and playfully reconstructed into a video piece made of fleeting sequences about the urban experience, swiftly appearing and disappearing onto a black canvas, using the cinematic convention of the ‘subtitle’ as a means to bridge possible meanings, thoughts and senses.

Using the video piece as a text-score, the two composers rigorously worked to collect field recordings, sounds and develop their respective sound pallets to be used in the inaugural perfomance of the piece at Kino Šiška (Ljubljana, Slovenia) on the 9th of September 2014. Ranging from pure field recordings of surfaces, spaces and motions in the old tobacco factory of Ljubljana to elaborate sound design patches on KYMA or Max 4 Live, the sounds finally used in the performance, reflect the essence of the trajectory behind the piece and its highly improvised, intuitive and collaborative nature.

As its title reveals, the piece explores this dynamic process of conduction, contact and transmission of ideas and materials between the two composers. In its four consecutive movements titled “surface”, “under”, “vortex” and “core” conductcontacttransmit is iterated within mutual exchanges of text-scores about urban spaces and pools of sounds prone to fragmentation and contingency. Ultimately, the piece aspires to offer a playful and thought-provoking interlplay between these registers of perception.

Presented at: ZVO.ČI.TI so.und.ing DUO, Kino Šiška, Ljubljana, SI, September 2014; Sonorities Festival 2015, SARU Sonic Lab, Queen’s University, Belfast, April 2015; Surprise and Serendipity, Apiary Studios, London, April 2015

Maria Papadomanolaki and Bojana Saljic : CCT (Excerpt from Performance)

South Walney Radio 108FM was a pop up radio station I created inside Barrow Market Hall from 27 to 28 October 2017 as part of the Full of Noises Festival and Soundcamp's Gull Spit project space. Gull Spit included field recordings, video, writings and the pop up radio station relaying live feeds from The Spit, along with three other locations where streamboxes were installed for the occasion.

This is an excerpt of an improvised performance I did in the space, interacting and responding to SWR.

More info on the GULL SPIT project: http://soundtent.org/south_walney/GULLSPIT.html

South Walney Radio - Improvised Performance

Enigmai is an audio documentary about Southwark; its history as it is represented in its local history archive, the different aspects of its soundscape, the discovery of its hidden spaces, people and their actions through the personal trajectory of the recordist. It is also a summary of the artist's reflections on the paradox of trying to concretise a specific time and place by recording it and the importance of listening and learning from the soundscape. 
Originally produced for Resonance FM in 2007 and selected as "Audio of The Month" by Southwark Local History Library and Archive  in 2018.

Enigmai  - Audio Documentary(Excerpt)

Radio Mirror is an radio installation that i curated as part of "Radio Arts Space" Exhibition by radioCona, SKUC Gallery, Ljubljana, Slovenia. It was exhibited on
December 6-16 2011  and the participant artists were Maria Chavez, Kabir Carter, Aki Onda, Ed Bear and Lea Bertucci, Zach Layton, The Propagations

Curator's Note
Radio Mirror invites six NY-based sound artists of different backgrounds to share their visions and ideas about radio by contributing a work to the exhibition. That said, I selected these specific artists on the basis of their work and the tools they use and I didn't try to intersect at all with it. How can radio resound or relive through the cuts and clicks of a turntable? Maria Chavez’s work essentially brings that question to the foreground in an effort to recreate the sound effects of the golden age of radio. Radio embraces our private memory and sensory space whilst being present in the public realm. Aki Onda shifts through spaces, ambiences and chance interactions in an effort to capture with his cassette recorder radio’s dual ethereal presence. Kabir Carter’s work challenges the listener by experimenting with the durational aspects of the sound on radio. How can a singular shortwave tone survive the radio interferences as its signal propagates through space. Ed Bear and Lea Bertucci use radio transmission as a tool to record and collage the voices of a group of young participants in a workshop on experimental broadcasting. The transmitted sound in its entirety can project a very dense pool of frequencies depending on the source and the targeted receiver. Zach Layton offers radio astronomy transmissions from the Haruni Mirror Radio Telescope in Armenia, showcasing its minute yet at times rather physical aural spectrum. Another characteristic of the sound on radio can be its haunting, distant yet familiar, connection to its listener/receiver. Along these lines, the artist duo “The Propagations” sends us recordings of shortwave transmissions from Bangalore, India. To conclude Radio Mirror aims to establish an open ended definition of what radio is or can be through the different facets presented in the audio exhibit.

Radiomirror (Excerpts)

Samples of work varying from live sets, field recordings to commissioned sound work.

voicesoundtext

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