What’s your relation to the ocean?
Is there an element of the ocean that is particularly relevant to you?

The Oceanographies Institute(TOI) focuses on the relation between two bodies of water: the human body and the world ocean. The institute studies the relations of hands to mud, ears to the breaking of waves, feet to the feeling of sinking, rather than the ocean “in itself”, as if devoid of human presence. TOI collects and reenacts people’s personal stories about their encounters with the ocean. Where scientific researchers use microscopes and petri dishes, TOI uses microphones and the sound of the voice, or the sound of objects –a pencil, as it draws the sign of infinity, for example– as a means to study human-ocean kinships.

The format of the radio is new and exciting to TOI. In this framework, the institute explores the threshold between speech, sound and song with its polyphonic protocols. With its Ocean Demonstrations, it is summoning different ocean elements – such as “immensity” or “horizon”- by letting ocean soundscapes emerge from the interactions between humans and objects.

TOI Artistic Coordination: Marialena Marouda
TOI Artistic Collaborators: Elpida Orfanidou, Charlie Usher
Broadcast Editing: Charlie Usher
Vocal Training: Johanna Peine
Outside eye & ear: Marcus Bergner

Frozen Sea (Parole Gelees) written and performed by Marcus Bergner. Co-sound editor: Myriam Van Imschoot

Production management: arp vzw. and HIROS vzw.
Coproduction: Kaap (2020-21), WAB 2020, C-takt (2020)

The broadcast was realized with the support of Q-O2, Brussels and financed by an Activiteiten Premie of the Flemish Government.
In 2020-21, TOI is supported by a development grant by the Flemish Government.

more infos here: http://www.q-o2.be/en/event/oceanographies-institute/

The Oceanographies Institute ::: Radio Broadcast

What are you lis­ten­ing for? to? ​‘Listening Past’ is a performance<>lecture secret­ly serv­ing as an ali­bi tap­ping those always as-yet-unknown lines to sig­nal that the future leaks. Fixed, homoge­nous time assumes a standard(ized) pro­gres­sive flow where what is next always comes after what is before. But, will there not have been count­less moments of achronic­i­ty when signs of antic­i­pa­tion can be (mis)heard in reverse (à la Pierre Menard & Bayard)?
To access the pro­gram note in French, Dutch and English that accom­pa­nied this talk, go to:
https://www.youtube.com/watch?v=ukDoaZwKfxw&feature=youtu.be

In the frame of Oscillation Festival 2021 ::: Tuned Circuits
http://www.oscillation-festival.be/2021/

Lendl Barcelos ::: Listening Past

Sound artist Amber Meulenijzer presents a selection of pieces, projects, and artists that inspire her, and speaks about her latest project: Saab Sculptures/Paesaggimmaginati.

Playlist
    FRAGMENT : JOSE LUIS BORGES - Metaphor Talk
    FRAGMENT : ANNEA LOCKWOOD - Rivers
    FRAGMENT : WEATHER WARLOCK
    FRAGMENT : RAYMOND DELEPIERRE - Bells
    FRAGMENT : AMBER MEULENIJZER - Recording Saab Zwalm
    FRAGMENT : AMBER MEULENIJZER & LUKAS DE CLERCK - Saab Sculptures /Paesaggimmaginati,  Abattoir Anderlecht

Amber Meulenijzer

Radio session with writer, radio dj and educator Peggy Pierrot, live broadcast on 22/1/2022 from Q-O2 workspace Brussels.
From Drexciya and other Detroit techno bands, to historians and science fiction writers, to Solomon Rivers, author of speculative and literary fiction such as The Deep, the Atlantic Ocean – known here as the Black Atlantic – has been the crucible for stories of loss and flight, abduction and rebirth. This radio program invites us to dive into this black ocean in search of these sounds and stories.

Playlist:

Vangelis -Sauvage et Beau, le chant des baleines
Clipping – The deep
Ed Blackwell / Don Cherry / Charlie Haden / Dewey Redman – Old dream and new dreams
The comet is coming – The Prophecy
Drexciya – Intro: Temple Of Dos De Agua
the Aquanauts – Aquatic Kamikazi
Drexciya – Hydro Theory
Earth – Sonar and Depth Charge
Joe Henderson & Alice Coltrane – Water
Shabaka and the Ancestors – The Sea
Mr. Bubble – Bubble Beats
Sun Ra – Lanquidity
Le chant des baleines – Killer Whale, Orcinus Orca
Ras-G – Been Cosmic
Le chant des baleines – narwhal Whale, Monodon Monoceros
Sons of Kemet – in remembrance of those fallen
Extracts from The deep by Rivers Solomon in french and in english.

Organised by VUB Crosstalks, Kaaitheater and Q-O2

more infos: 
http://www.q-o2.be/en/event/songing-with-our-ancestors-live-radio-session-with-peggy-pierrot/

Peggy Pierrot - Songing With Our Ancestors

A network of listening paths presented by Hildegard Westerkamp at the International Conference of the World Forum of Acoustic Ecology in Corfu, Greece in 2011. 

Acoustic Ecology is the research field created by the World Soundscape Project, an international research project founded by Murray Schafer, at the Simon Fraser University in Vancouver (CA) in the 1960s. As one of the core members of the project, Westerkamp developed her research about attention and listening awareness within soundscapes, and her educational approach through sound walks, field recording and radiophonic works, as well as her long-standing compositional practice.

In this talk she guides through the following questions: 'How can we find focus and balance in such a vast interdisciplinary intercultural field? In a field that has listening as its very core of study, and educational action, and therefore naturally touches on all aspects of life?'

Hildegard Westerkamp - Exploring Balance & Focus in Acoustic Ecology

Excerpt of Concert by Lia Mazzari on amplified cello together with Teresa Cos on electric guitar, on the garden terrace of Q-O2 workspace, Brussels, 18/6/2022
http://www.q-o2.be/nl/event/lia-mazzari-teresa-cos/

Lia Mazzari & Teresa Cos 2022

Margherita Brillada meets Thomas Ankersmit at Oscillation Festival ::: Public Address. He talks about his main instrument, the Serge Synthesizer, the phenomenon of the otoacoustic emissions and his ways of tuning in with the space. This interview was recorded at Zonneklopper, Brussels, on Day 3 of the Festival: Saturday, 30/4/2022,  in the courtyard, with background noises from the soundchecks.

Thomas Ankersmit is a musician and sound artist based in Berlin and Amsterdam. He plays the Serge Modular synthesizer, both live and in the studio. His music is released on the Shelter Press, PAN, and Touch labels, and combines intricate sonic detail and raw electric power, with a very physical and spatial experience of sound.
https://thomasankersmit.net/

Margherita Brillada is a sound artist and electroacoustic music composer based in Den Haag.
https://margheritabrillada.com/

More informations on the festival's program:
http://www.oscillation-festival.be/2022/

Thomas Ankersmit Interview by Margherita Brillada

Live Recording of the Lecture Performance at Atoma, Brussels, on 29/4/22 during Oscillation Festival ::: Public Address.
 
If listening could play a role in rethinking the public sphere, its mediations, complicities, and normalizing mechanisms would first need to be better articulated. To that end, the legal, infrastructural, and conceptual limits of listening, both those local to Brussels and to the zombie remnants of 'modern listening' as such, are amplified into audibility.

Bill Dietz is a composer, writer, and co-chair of Music/Sound in Bard College’s MFA program. His work is often presented in festivals, museums, apartment buildings, magazines, and on public streets. Recent publications include: Maryanne Amacher: Selected Writings and Interviews (co-edited with Amy Cimini, 2020), and Universal Receptivity (co-written with Kerstin Stakemeier, 2021).

https://www.youtube.com/watch?v=96KzBaBuu7A
https://www.tutorialdiversions.org/

More Informations on the Festival's program:
http://www.oscillation-festival.be/2022/

Bill Dietz ::: My Ears, The Police (Talk)

Live Recording of the Talk at Zonneklopper, Brussels, on 30/4/22 during Oscillation Festival ::: Public Address.

Céline talks about how listening to music is conditioned by context, based on her own experience as a performer. Performing in a music festival, an art institution, a concert hall or a club are very different experiences, with different conditions, sets of rules and expectations. She's interested in questioning the cleavage this creates between audiences and how it is rooted in issues related to class, sex and race.

Céline Gillain is an artist whose work explores the meeting points between different fields of art and music such as performance, storytelling, experimental and electronic music, deconstructing the codes and hierarchies that govern them. Exposing the ever growing precarity of the artist, her work questions the mechanisms by which ideas are transformed into commodities in mainstream culture.
https://linktr.ee/CelineGillain

More Informations on the Festival's program:
www.oscillation-festival.be/2022/

Celine Gillain ::: How listening is conditioned by context (Talk)

Street Cries & the Wandering Song is a lyrical collage of the texture and life that traversed the little cobblestone intersection beneath my studio window in Dali, China. The melodic cries of peddlers, recyclers and spontaneous scenes were captured between 2006 and 2020, primarily with a stereo microphone suspended above the street or with binaural mics in other locations. This is a remote performance live from New Zealand.

Fausto Cáceres is an American sound creator/collector who recently relocated to New Zealand after living 15 years in the peripheries of mainland China where he extensively documented traditional music of minority cultures as well as the ever transforming soundscape of the People's Republic of China. Cáceres is also the 'Remote Operator' of the long-running Shirley & Spinoza Radio.
https://beacons.ai/shirleyandspinoza
http://compound-eye.org/

Live Recorded on 1/5/2022 at Zonneklopper, Brussels, during Oscillation ::: Public Address

More infos on the Festival's program:
http://www.oscillation-festival.be/2022/

Oscillation 2022 - Public Address

Fausto Cáceres (Shirley and Spinoza Radio) ::: Street Cries & the Wandering Song

Post-residency performance for flutes, synthesizer, percussion, field recordings & silent whistles, (excerpt 2/8/22)
http://www.q-o2.be/en/event/rebecca-lane-clara-de-asis-2/

Rebecca Lane & Clara de Asís 2022

The Soundscape Speaks - Soundwalking Revisited (2021)

"The sound environment has much to tell us about the coming climate crisis. It simply 'voices' all activities—and if we dare to really listen, we may sense the depth of the environmental trouble the world is facing. During the past year I decided to re-examine the many sound recordings I have made since approximately 1977/78, when I got my chops in field recording while producing and broadcasting my radio program Soundwalking on Vancouver Co-operative Radio.
Without knowing it then, it formed the base of my recording approach for many years to come. The idea of including my voice while recording the environment was there from the start and was based in the desire to acknowledge my recording presence to the radio listener. In other words, in speaking together – acoustic environment and voice – a relationship between soundscape and human vocal expression was revealed. 
Upon the kind invitation from the BEAST FEaST 2021 to create a new sound piece, I decided to use the opportunity to reflect back on my more than 40 years of sound recording and composing with environmental sound. I have brought together many of my recordings and compositional approaches in a fluid stream of listening while also softly speaking my mind about issues of soundscape ecology. The festival’s theme is “Recalibration”. The Soundscape Speaks is an invitation to open yourselves to the complexities of listening itself and the possibilities it may offer to recalibrating your own relationship to the environment.”

Hildegard Westerkamp is a German Canadian composer, educator and radio artist whose work since the mid-seventies has centre around environmental sound and acoustic ecology. Her compositions draw attention to the act of listening itself, to the inner, hidden spaces of the environments we inhabit and to details both familiar and foreign in the acoustic environment. She has written numerous articles and texts addressing issues of the soundscape, acoustic ecology and listening, has travelled widely, giving lectures and conducting soundscape workshops internationally. She is a founding member of the WFAE.
https://www.hildegardwesterkamp.ca/

This piece was presented at Oscillation Festival ::: Public Address, on Thursday, 28/4/2022 at Decoratelier, Brussels. More informations on the Festival's program:
www.oscillation-festival.be/2022/

Hildegard Westerkamp ::: The Soundscape Speaks - Soundwalking Revisited

An Interview with Elena Biserna, author of the book: Going Out - Walking, Listening, Soundmaking, published by Q-O2's umland editions, accompanied by recordings of concerts by BNA BBOT and David Helbich, during the book launch on 9/12/2022 at Q-O2.

More infos on the book and distribution here:
http://www.q-o2.be/en/outcome/going-out-walking-listening-soundmaking-by-elena-biserna/

Elena Biserna ::: Going Out - Walking, Listening, Soundmaking

Talk by Jessica Ekomane, sketch­ing some of her recent rhythmic interests, such as the poly­rhythmic prac­tice of Pygmy music, African timeline rhythms, and the pres­ence of non-Anglo European ideas and artists with­in the his­tory of com­pu­ta­tion and com­puter music.

Live recorded on 29/4/2023 at Festival Oscillation :::  o tempo.
https://www.oscillation-festival.be/2023/


Jessica Ekomane is a French-born and Berlin-based elec­tron­ic musi­cian and sound artist. Her quad­ra­phon­ic per­form­ances seek a cath­artic effect through the inter­play of psy­choacous­tics, the per­cep­tion of rhythmic struc­tures and the inter­change of noise and melody. Her music is groun­ded in ques­tions such as the rela­tion­ship between indi­vidu­al per­cep­tion and col­lect­ive dynam­ics or the invest­ig­a­tion of listen­ing expect­a­tions and their soci­et­al roots.

https://www.jessicaekomane.com/

Jessica Ekomane - Talk - Polyrythms

Phantom Frequencies

The record­ings of this pro­gram can­not be trus­ted. They were made unin­ten­tion­ally or occurred without any human inter­ac­tion. Some of them – like elec­tro­mag­net­ic inter­fer­ences — can be explained sci­en­tific­ally, oth­ers can­not. What con­nects all of them is their unex­pec­ted appear­ance. These sounds emerged from noth­ing­ness –like phantoms. They mani­fes­ted on old tapes, online stream­ing chan­nels, dis­rup­ted hard discs and broken stu­dio gear, record­ings played at the wrong speed o rac­ci­dent­ally con­tam­in­ated by out­er sig­nal inter­fer­ences.

Live Recorded on 28/4/2023 at Festival Oscillation ::: o tempo.
https://www.oscillation-festival.be/2023/

Felix Kubin is a com­poser, cre­at­or of radio plays, per­former, media artist and cur­at­or. A lovech­ild of the home record­ing era (he star­ted to com­pose elec­tron­ic 4‑trackmusic at the age of 12), his activ­it­ies span futur­ist pop, elec­troacous­tic and cham­ber­orches­tra music, radio art, lec­ture per­form­ances and writing.

http://www.felixkubin.com/

Felix Kubin - Live Radio Play - Phantom Frequencies

Ode to Routine (Against the Project as a Tool of Control)

The more I treat what I do as mean­ing­less, the less I’ll be forced to jus­ti­fy it in response to the wrong line of ques­tion­ing. Being a mean­ing­less dwarf, I can just slip through, below the author­ity of a lan­guage that ques­tions my value. Superficially dilut­ing the self allows you to become one of many and of much and to grow as such. A talk about cyber­net­ic tac­tics in the field of art in a pres­ence that is reg­u­lated by cyber­net­ic post-politics.

Live recorded on 27/4/2023 at Festival Oscillation ::: o tempo.
https://www.oscillation-festival.be/2023/

Hans-Christian Dany lives in Hamburg and writes in the morn­ing. Sometimes this turns into books like: Speed, Morgen werde ich Idiot or the upcom­ing No Dandy. No Fun. Looking good while things fall apart.

Hans-Christian Dany - Talk - Ode to Routine

Yenting Hsu 2023

Second Sundays is a monthly series initiated by Q-O2. Each session a new guest is invited to share an insight into their own listening, playing and speaking about a selection of sound and music that is important to their thinking or practice. The sessions try to put value on listening to recorded music in a social setting as a space for discussion. The series takes place on the second Sunday of every month. Each session is paired with a cocktail-of-the-month, as decided by the invited guest.

For its forty-first edition, Second Sundays invited electroacoustic musician Valérie Vivancos.
Valérie Vivancos creates immersive and concrete soundscapes. Currently based in Paris after 11 years in the Anglo-Saxon underground, she has performed at international venues, festivals, and art events and collaborated with the likes of Carl Stone, Kamylia Jubran and Limpe Fuchs.
http://www.oceanvivasilver.com/

Playlist: 
Alexis Degrenier_Decliner  
Annelies Monseré_My Finest Hour  
Carol Robinson_Back into the Gaping Again-ness-A  
Vânia Dantas Leite_L'Indien et L'Ovni  
Otto Sidharta_Kerrikil  
Kamilya Jubran_Qawafel 
 Les Filles de Illighadad_Telilit  
Tanya Tagaq_Retribution  
KANG aka Ji Youn Kang_Time-Folding V.7
Maria Cristina Kazem_Las aguas abismales  
Limpe Fuchs_Listen  
Limpe Fuchs_trommeln dialogue electric I (Split EP with Valérie Vivancos) 
 Ocean Viva Silver_Summstein

https://www.q-o2.be/en/event/second-sundays-41-valerie-vivancos/

Valérie Vivancos - Second Sundays #41

Second Sundays is a monthly series initiated by Q-O2. Each session a new guest is invited to share an insight into their own listening, playing and speaking about a selection of sound and music that is important to their thinking or practice. The sessions try to put value on listening to recorded music in a social setting as a space for discussion. The series takes place on the second Sunday of every month. Each session is paired with a cocktail-of-the-month, as decided by the invited guest.

For its forty-second edition, Second Sundays invites violinist Clara Lévy, for a listening session around Hildegard of Bingen and Pauline Oliveros.
https://clara-levy.com/

Playlist:
Hildegard Von Bingen - Karitas (arrangement Hugh Collins Rice - ensemble Médiva
Marianne Schuppe - Pipes 
 Sarah Davachi - Hall of Mirrors interprete Tiffany Nguyen
James tenney - Glissade pour alto (William Lane), cello (francesco dillon), dbass (Dario Calderone) et tape delay. 
Polyphonie Sarde - Jesu - Confraternita Delle Voci : 
D’incise - L’anglard de Saint-donnat
Clara de Asis et Mara Winter - Repetition of the same dream
Alfonso X El Sabio - Muito Faz Gran erro CSM. 209 (La Capella reial de Catalunya & Hespèrion XXI)
Pauline Oliveros - The Tuning Meditation 

https://www.q-o2.be/en/event/second-sundays-42/

Clara Lévy - Second Sundays #42

Scatter
https://www.q-o2.be/nl/event/nika-son-2/

Nika Son 2023

Les Vagues
https://www.q-o2.be/nl/event/clara-levy-stephane-clor-3/

Clara Lévy & Stéphane Clor 2023

Akkumulator
https://www.q-o2.be/nl/event/louise-vind-nielsen-2/

Louis Vind Nielsen 2023

Mechelen live
https://www.q-o2.be/nl/event/hannah-ellul/

Hannah Ellul 2023

excerpt
https://www.q-o2.be/nl/event/giulia-rae/

Giulia Rae 2023

Pavel Tchikov 2023

Stone Waiting Hall
https://www.q-o2.be/en/event/marius-tarakdjioglou/

Marius Tarakdjioglou 2023

Sebastian Dingens 2023

Native Instrument 2018

An oral/aural exploration of the creative work, materiality, practice, and history of the four individuals who compose the collective Sacred Realism. Although their work as individuals is rather varied and unique, there is something similar (or not?) at the core as to why they each chose to become musicians. Through a threaded conversation and collective listening they (we) will try to understand further what the core of the collective is by each asking the other some questions about it and the work we do.

Sacred Realism is an independent music collective producing scores, recordings, and concerts. It formed through the friendship and mutual respect of Andrew Lafkas, Bryan Eubanks, and Catherine Lamb in 2011 in New York City following the desire to support each others work and initiate something self sustaining. Rebecca Lane joined later in 2017 in Berlin after the three others had eventually migrated there.
http://www.sacredrealism.org/

Sacred Realism ::: Conversations In Duo

Bloedneus en de Snuitkever is a musical project for newborn sonic adventures.

The Aulos, a double reeded double pipe, stands in the center of the research. Detached from it’s former owners and their entire culture, the instrument is sort of an enigma.

Breathing air into an instrument silenced for over a millennium, Bloedneus en de Snuitkever creates a humble re(co)naissance of the instrument.
 
The radio transmission offers an insight into the possibilites of the Aulos, introduced by Lukas De Clerck in conversation with Henry Andersen live broadcasted from Q-O2. We will hear a live-concert by Lukas recorded at Q-O2, fragments of interviews with different Aulos researchers and a series of recordings of other Aulos Players.

With the support of Flemish Community Activation Fund.


Playlist :
Bloedneus & de Snuitkever - Le déshabillage (https://bloedneusendesnuitkever.bandcamp.com/releases)
Max Brumberg & Thomas Goulpeau :  https://www.youtube.com/watch?v=KbQVivtFQZg
Ars Serena - Athenaios Paian
Daniel Muñoz -  IAS 326+342
Callum Armstrong - Aulos improvisation on Bellerman exercise no 35: https://www.youtube.com/watch?v=6JFa8BZt2B0&t=2s
Ï Î - raw demo material... 
Stefan Hagel on a Hellenistic Aulos: https://www.youtube.com/watch?v=OcHWvl16mpg&t=43s

Lukas De Clerck ::: Bloedneus en de Snuitkever

concert excerpt from Animated Matter
http://www.q-o2.be/nl/event/animating-of-matters/

Clarice Calvo-Pinsolle 2020

Hear / Sound impressions inspired by Haikus

With a mix of live made concrete sounds, archival online sounds, instruments and voice, we trail the haikus through different moods.

What I miss most during this strange period is making music with others, travelling for it and sharing it. My focus is pretty limited these days, and haikus are like little candies. Full of images (and thus sounds), short, but savory.

Travelling to long ago times, real or imagined places, in dreams or short stories. Making sense and non sense, only to create a poetic sound environment that tickles the imagination.

Noise, words, ears.

Join in my escape of our current times and tune in together.

CREDITS:

Concept, music, foley, voice: Pak Yan Lau
Harp, foley, whispering: Vera Cavallin
Foley, voice, Italian haikus: Lucia Palladino
Foley, Voice narrator: Henry Andersen
Presenting: Caroline Profanter
Sound: Ludo Engels

Haikus used in PART I and II, taken from:

– Basho The Complete Haiku / Matsuo Basho / translated by Jane Reichhold / Publisher: Kodansha International
– http://www.graceguts.com/haiku-and-senryu/music-and-sound-haiku
– https://tenthousandhaiku.com/ by Calvin Olsen
- Archival soundsource from BBC Archive: dragonfly, all kind of ringtones phones, Arabic crowd, Hong Kong street market, Rainforest night

Haikus used in Part III written by Lucia Palladino

 
With the support of Flemish Community Activation Fund.

Pak Yan Lau ::: Add wings to a pepper to make a dragonfly

Q-O2 is a Brussels based workspace for experimental contemporary music and sound art. Q-O2 develops projects in collaboration with national and international artists and arts organizations, hosts artists in-residence, and holds performances and concerts. 
http://www.q-o2.be

Q-O2

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