Who is witnessing the hardest periods of history and who is making the story out of it? While girls were granted with the lovely gift of diaries, boys were given notebooks to study, to expand in their own thoughts for then sharing them with the world and participate in the global discourse of legitimate history. We think the time of thoughtful journals is up and in this project we are unlocking diaries as the most important and profound data collections on social and political disasters, we are micing up the stories that are private and sensitive that’s why they will be accessible in the symbolic password mode.

Diary method allows the participant to record it as it occurs (or at least closer to the moment that it occurs). When participants record their observations or perceptions in the moment, we learn something different about their experiences than might be gained from other methods.  Through this project we want to work with the personal documentation of this toughest period on planet Earth with those witnessing it in different problematic contexts.

We invite to participation artists, curators, musicians, art and social theorists from different countries who at one time or another have taken the brunt of instability, armed conflicts, occupation or colonial interventions and work with the relentless and ruthless ongoing social and political systems as abuse. Program set itself the task to speak about social injustice and suffering from imperialism and colonization. It will include various formats: audio, video, images and texts.

website with collected audiovisual materials: http://radiofantasia.online/diaries

*Project funded by the Stabilisation Fund for Culture and Education 2022 of the German Federal Foreign Office and the Goethe-Institut

Unlocking Diaries

processed field records of an abandoned railway platform

jelez

@momofzeli

photo by Atousa Radmanesh

tracklist: 
1000Pa - tufifetu naar
bwah-spatium - ANGKUHL
Happa - Digital Recall
Plus One - Scrap
Julmud جُلْمود -  Kassara كسّارة
Arca - Anaesthetic
User from PT - Three-six Paths
Le Motel - Shaolin (feat. Magugu)
Silk Road Assassins - Feelin Blu
Basile3 - Mutual 
Rude Boi - Dope 
Montross - Interlagos
Kellen303 - White Label 
Nerve - Blacktip Reef Shark (Carcharhinus Melanopterus)
Yre Den - Silk Evade
Entek - Geodine
Bbymutha - Green Candle Music
Cakedog - Flight
Ursula Sereghy - Slug Tremollo (Defenders of the Existent)
Best Available Technology - Session 6192
Gent1e $oul - Cabo Horn
Healion - Vetiver
??
??
Blithe Field - Finally Understanding, Sleeping bags in a row

not your skin - momo zeli

Txt file:

Տոտալ վերաիմաստավորման ճանապարհն իմ կյանքում սկսվեց 2018-ից: Մարմնով, մտքով, զգացողություններովմի օրգանիզմ դարձանք ("հեղափոխություն"): Կարճատև երջանկություն, որին հաջորդեց հիասթափությունն ումշտաներկա պատերազմը, որի գոյությունն ու ավերիչ ուժը ես խորապես չէի գիտակցել մինչ 2020 թվականը: 2019-ից ամբողջ աշխարհը կանգնեց: Տարօրինակ, ու հաջորդիվ, խորը արտաշնչի նման թեթևացնողզգացողություն էր "հեղափոխության" բուռն ապրումներից ու հաջորդիվ տարօրինակ տարվանից հետո: Ինձթվաց, թե "էս ա breaking point-ը" դեպի գլոբալիզացիա, աշխարհի բացություն, համերաշխություն, քանի որամբողջ աշխարհը խոցելիության փոռձառության մեջ ա ու դա կյանքի վերաիմաստավորման հիմք ա, փիլիսոփայության ու ռեֆլեկսիայի ժամանակ: Հետո պարզվեց որ էդ ամբողջ աշխարհը իմ գլխում ա (ու էլի ինչ-որմարդկանց): Նոր իրավիճակով ինձ ճանաչեցի լրիվ նոր կողմից:
Քովիդն ու պատերազմը ինձ գցեցին դեպրեսիայի մեջ, որը արդեն շատ երկար շարունակվում ա տարբերփուլերով: Ինձ երբեք էսքան անմասնակից ինքս իմ կյանքում չեմ զգացել: Առանց պայքար ու կիրք կյանքիհանդեպ, ուղիղ գիծ,  իսկ ես իմ բնույթով ինիցիատոր եմ ու միապաղաղություն չսիրող (կամ էի, ամեն ինչշարժման մեջ ա ու ըստ ազդեցությունների մի բանը արտահայտվում ա, մյուսը՝ լռում):
 Փուլեր են եղել, երբ ինքս իմ մտքերի թակարդի մեջ էի զգում ու գիտակցելով հանդերձ անզոր էի դուրս գալէդտեղից ու տագնապի զգացողությունից բացի ուրիշ ոչինչ չէր կատարվում ներսումս: Հետո եկավ ավելի դաժանփուլ՝ ապատիա, հուզականության, ցանկության բացակայություն, բութ վիճակ: 
Հիմա ամեն օրս գրեթե նույնն է՝ զարթնում եմ,  լվացվում, սուրճ խմում, հաց եմ սրաքում, ուտում, նստումհամակարգչի դիմաց աշխատելու, հաց եմ սարքում, ուտում, նստում համակարգչի դիմաց աշխատելու, ժամը 8ինձու փոսթում (արվեստագետ Վանանե Բորյանի հետ քովիդ ժամանակ հիմնեցինք "y collective” դուոն ու"eggsistentialism” նախագիծը), մտնում հեռախոսի մեջ մինչ ժամը գիշերվա 1-2ը ու գնում եմ քնելու (եթեստացվում ա): Ամեն երկուշաբթի "art box”- ի օնլայն հանդիպում ժամը 19:00ին, ամեն երեքշաբթի՝աշխատանքային օնլայն հանդիպում, ժամը 21:00-ին: Շաբաթը մեկ ամուսնուս հետ ամբողջ տունը մաքրում ենք(генеральная уборка): Ամբողջ օրս ուղեկցվում ա ինքս իմ գոյության, արվեստի (ան) կարևորության, տանեցիներիմեծանալու ու աշխարհի անկայունության մասին մտքերով: 
Դեպրեսիան սպառող ա դարձնում, ոչինչ ունակ չես տալ, քեզ անպետք ես զգում:
Վերջերս ակնթարթային զգացողություն եմ ունենում, որ սա մեկնարկային կետ ա, վերակերտման փուլում եմ ու էդակնթարթում ինքս իմ հետ հաշտվում եմ:

Դեպրեսիան նմանեցնում եմ պատերազմին՝ (որպես մասնակից թիկունքից) սպառող ու տագնապի մեջ պահող, քեզնից մեծ մի բան: Երկու դեպքում էլ ավարտվելուց հետո (ֆոնային) տագնապով ես մնում, որ կարող ավերսկսվի:

LISTEN/READ FULL DIARY PAGE: zurkastepla.com/unlock
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Anna Vahrami (b.1993) lives and works in Yerevan, Armenia. She graduated Yerevan State Academy of Fine Arts in 2013. Starting 2016 Vahrami has been conducting and presenting her artistic research within Armenian contemporary art scene. Her artistic praxis is focused on relationship experiences, feminist issues, and particularly on female body and its exploitation in different perspectives. Vahrami works with video, sound, installation and performance.
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”y collective" 
ART COLLECTIVE BASED IN ARMENIA, FOUNDED BY CONTEMPORARY ARTISTS ANNA VAHRAMI & VANANE BORIAN.  “Y” IS A CROSSDISCIPLINARY ORIENTED ART COLLECTIVE, RESEARCHING THE COLLABORATION BETWEEN ART & SCIENCE.
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links/ссылки:

Anna Vahrami – https://annavahrami.wixsite.com/puter/bio
y-collective – https://annavahrami.wixsite.com/puter/y-collective
Vanane Borian from “y collective” – https://www.vanane.com/


*Project funded by the Stabilisation Fund for Culture and Education 2022 of the German Federal Foreign Office and the Goethe-Institut

Diary page 001 – Anna Vahrami

DIARY PAGE of Kani Kamil

Here is the text of one of my pieces, Masculine Hanger and also I have attached a few photos, Textiles have played a major role in the interconnections of the social, cultural and economic life of Iraqi Kurdistan. From making clothes to weaving rugs, the production of textiles was mostly executed by invisible and often unpaid labour by women. For instance, for a specific men’s Kurdish expensive Kurdish costume called ‘Shall’, a significant period of time and production is needed in order to prepare the raw material (the animal hair) to weave a ‘Shall’ fabric. The final handprint and selling process, however, belongs to men, superseding the work of women. Reproducing a (300cm x 17cm) shall fabric out of my hair is to articulate the notion of unpaid labourers and mundane jobs of women through a local product.

LISTEN/READ FULL DIARY PAGE: http://radiofantasia.online
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Kani is a visual artist and performer of experimental sound with hair. Born and raised in Iraq, she currently lives and works in London.
Her works signify the relentless and ruthless ongoing social and political systems of abuse in Iraqi Kurdish society, representing and embodying the hidden specific societal issues through her hair and voice to challenge the stereotype. Her interest is around stories that have never been told or heard, and history that has never been recorded, translating and decoding these stories into art and using art as a tool for social critique is the method in her artistic practice with using investigating form to reveal the unrevealed side of the stories, therefore the listening process is a major part of her practice.
She employs human hair as the main material as a tool for the entanglement of many perspectives and politics and converges personal stories through it as a protest against this stigma that never disappears against a specific gender in that society. Producing work through photography, installation, video performance and sound. 

Since 2015, her works have been exhibited in galleries and institutions including the National Museum NOMUS in Gdansk, Poland(2021), (Babylon Cinema as Moviemento, Kreuzberg and FSK Kino) in Berlin, Middle East Institute, Washington
D.C(2019), V&A London, Manchester art gallery the UK, Institute of fine art Iraq, Reykjavik Art Museum in Iceland, woman made Gallery (WMG) Chicago.
Kani also holds an MA in [fine art] from Middlesex University, London, with the artist Sonia Boyce as her tutor. She is currently studying for a PhD in [fine art] at Manchester Metropolitan University.
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links/ссылки:
web: https://kanikamil.com
instagram: https://www.instagram.com/kani_kamil_majid/

*Project funded by the Stabilisation Fund for Culture and Education 2022 of the German Federal Foreign Office and the Goethe-Institut

Diary page 002 – Kani Kamil

Kasha Potrohosh is a visual artist from Ukraine, currently based in Bratislava. Kasha studies intermedia at the Academy of Fine Arts and concentrates her creative endeavors on intermedia projects. While she has a wide range of solo activities and projects, Kasha is also a participant in the MAPSN performative group. In her works, Kasha often uses textile as a medium and a camouflage element. Her themes intersect with the subjective experience with the themes of death, autotherapy, and reflections on social issues.
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February.
A new phrase "bystander effect", to remember what doomscrolling is. Drink so that you don't wake up already. The phone is cracking from screenshots of what / to whom / from where / to where to take. I struggle with myself to start creating. It seems that the artist needs to cover the problems after he sublimates his own. All right.

April.
......
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Read full Diary: http://radiofantasia.online

*Project funded by the Stabilisation Fund for Culture and Education 2022 of the German Federal Foreign Office and the Goethe-Institut

Diary page 003 – Kasha Potrohosh

Cedrik Fermont (aka C-drík, Kirdec, Cdrk) is a Berlin-based Belgian-Congolese composer, musician, mastering engineer, author, radio host, concert organiser, independent researcher and label manager (at Syrphe) who operates in the field of noise, electronic and experimental music since 1989.
His compositions and installations vary from sound art and electroacoustic to noise, to
industrial to more conventional “dance” music such as electronica or acid and so on ;
solo and in collaborative projects (as Axiome, Tasjiil Moujahed, Ambre, with Marie
Takahashi, Luong Hue Trinh, Yan Jun, Mick Harris, Mark Spybey, Gülce Özen Gürkan and many more artists). He has toured extensively in Eurasia, Africa and North America, and his main research focuses on electronic, electroacoustic, experimental and noise music from Asia and Africa – history, sociocultural context and decolonisation.
He composed music for sound installations, theatre and choreographies, including collaborations with Robyn Orlin, Guangdong Modern Dance Company (GMDC) and Dao Anh Khanh.
In 2017 he released together with Dimitri della Faille the book Not Your World Music
about noise music in South-East Asia, winner of the 2017 "Golden Nica" Prix Ars
Electronica in the "Digital Musics & Sound Art" category.
In 2005, his soundtrack for the experimental film Atalodz directed by Gisèle pape won the best prize at Côté Court festival, Paris/Montreuil, France.
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http://syrphe.com/c-drik.html
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The sea is on fire.
I’m not a professional photographer but I tend to take a lot of pictures together with field recordings.
Mountains, insects, rivers, found objects, or else. The beauty of “nature”, the beauty and ugliness of human activities.
.......

read/listen/watch fill diary page: https://radiofantasia.online

*Project funded by the Stabilisation Fund for Culture and Education 2022 of the German Federal Foreign Office and the Goethe-Institut

Diary page 004 – Cedrik Fermont

Bandcamp link: https://mariamg.bandcamp.com/track/lotsva 

In March 2021, after two silent years of pandemic, I began collecting chants from around the world for my new acousmatic work. Exhausted by the long period of isolation and lack of contact, my artistic goal with this project was to bring together the voices of people from different countries, cultures and religions and unite them in my musical composition. In the promotional video I posted on my social media channels, I asked for audio recordings with a smartphone and received 26 songs that I used as source material for the piece. The audio files ranged from intimate solo recordings made in a bedroom, to polyphonic folk songs and chants professionally recorded in a studio, to songs accompanied by various instruments. As I listened to the recordings, I realized that my task as a composer was to find ways to connect the voices that were recorded in different acoustic environments, with different keys, tempos, and languages, and to create a sound world in which they could all coexist. Considering the time in which the recordings were made and the work was composed, I consider this piece a collective prayer, hence the title ლოცვა (Lotsva).
The first version of the piece premiered in Oslo on September 9 and subsequently toured other Norwegian cities and international festivals. In the meantime, I kept receiving new recordings, so I added a new contribution from a different country at almost every performance. The final version of the piece was presented at Kulturkirken Jakob as an 8-channel sound installation as part of VoxLAB VårFEST.

Contributors:
Annie Björkman, Sweden
Aine Eva Nakamura, Japan
Heidi Skjerve, Norway
Line Souza, Brazil
Gyrid Nordal Kaldestad, Norway
Nigar Gahramanova, Azerbaijan
Åshild Hagen, Norway
Katy Pinke, Israel
Supriya Nagarajan, India
Zosha Warpeha, USA
Silva de Waard, Netherlands
Zoe Perret, France
Verena Merstallinger, Austria
Diego (surname anonymous), Argentina
Tamo Nasidze, Georgia
Falk Rößler, Germany
Ensemble IALONI, Nino Naneishvili, Georgia
Elvic Kongolo Birkebein, Congo
Małgorzata Olejniczak, Poland
David Zurabiani, Georgia
Sajidah Ahmed, Bangladesh
Andrea Silvia Giordano, Italy
Balint Laczko, Hungary
Marija Astromskaitė, Lithuania
Diana Serrao, Portugal
Christopher Manning, US 


Mastering: Balint Laczko
Cover: Midjourney AI
Video: Manuel Madsen (Norsk Komponistforeningen)
Commissioned by: Ny Musikks Komponistgruppe
Produced at Notam

LOTSVA / ლოცვა (excerpt)

Medina Bazargali diary page
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Medina Bazargali is a kazak transdisciplinary contemporary artist, fem- and queer- folk politics activist, steppe cyber-warrior, coder, researcher. Born in 2001 in independent Kazakstan. Bazargali operates at the intersection of decolonization, feminism and political activism, practically experimenting with AR, video, 3D graphics, installation, web-development, visual programming, cyber-physical systems, computer vision and neural networks.
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read/listen/watch fill diary page: radiofantasia.online

Diary page 006 – Medina Bazargali

The Circassians' self-awareness is closely connected with the traditional music and culture of our people. And, of course, with the formation of Ored Recordings. In expeditions and research, we try to maintain objectivity and impartiality. But at the same time, Ored is a very personal story. This is the story of the decolonization struggle and the rejection of some stereotypes. And first of all, it is a struggle with one's prejudices. During school years and at the beginning of university studies, the local cultural environment offered us to listen to ethno-pop and radio pop music. We didn't know anything about our native culture outside of the official layers and didn't seem to want to know. Why remember your native language and why you need it at all are also questions to which the elders had no answers. Answers that would be suitable for young rebels who were looking for themselves in the ideas of Anton LaVey or in the music of Led Zeppelin. Radical and bold artistic practices and ideas of the West and Moscow seemed much more attractive than exemplary song and dance ensembles. Today it is obvious that the denial of one's identity was based on emotions and lack of knowledge. And the first to break through this wall of denial was not knowledge, but emotions. Thanks to the Жъыуensemble from Adygea, we heard what our music could be. Gloomy, ascetic, uncompromising - not like we've been told all this time. At the moment of acquaintance with Жъыу, we decided that this was pure music, as it used to be in the glorious pagan past, when globalization did not come to us. They took the archives of the past and tried to reproduce the music of the past with meticulous accuracy. Today it is clear that this is not a reconstruction at all, but a re- creation. Because nothing from the past can be recreated in its purest form. But at the moment of national “awakening” - the first reaction is not a decolonial shift, but the romanticization of the past and the search for purity in one's past. This was the case, for example, with Aslan Tashu, co-founder of the Circassian group Myst and resident of Ored Recordings.
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read full material: http://radiofantasia.online/diaryv6

*Project funded by the Stabilisation Fund for Culture and Education 2022 of the German Federal Foreign Office and the Goethe-Institut

Diary page 007 – Ored Recordings

recorded in Tehran in 1928

I came across a worn copy this 1928 Iranian disc and asked my old pal Kevan Harris to translate the label for me.
He told me it was by the great singer Qamar-ol-Moluk Vaziri (b. 1905; d. 1959. No relation to the composer and tarist Col. Ali Naqi Vaziri; she named herself after him) who was, famously, the first woman to sing in front of men unveiled.
She made dozens of recordings in the late 20s, but this one is significant and exceedingly scarce. Kevan pointed out a very good English-language entry describing the song's "long and troubled history." https://www.iranicaonline.org/articles/morg-e-sahar
To summarize the article, the lyrics to Morg-E Sahar (Dawn Bird) were composed in the early 1920s when their author began to notice the rise of the dictatorship. When the country's new ruler Reza Shah heard Qamar-ol-Moluk sing it at a party in the mid-20s, he banned the second verse, which bemoans militarism, corruption, and tyranny. Over the course of the past century, the song has taken on significant nationalist meaning, through various administrations and hopes for a political new dawn in Iran.
The article, last updated a decade ago, points out there was at the time no evidence of a recording of it by Qamar-ol-Moluk existing. Since then, a copy of the first side has appeared on YouTube but the politically sensitive second side does not circulate online, so despite the poor condition of the disc, I felt obliged to make the entire performance available in reasonably listenable form.
It is presented here in solidarity for the struggle of women in Iran.
The lyrics in English, taken from the above article are: 
Dawn bird, lament!
Make my brand burn even more.
With the sparks from your sigh, break
And turn this cage upside down.
Wing-tied nightingale come out of the corner of your cage, and
Sing the song of freedom for human kind.
With your fiery breath ignite,
The breath of this peopled land.
The cruelty of the cruel and the tyranny of the hunter
Have blown away my nest.
O God, O Heavens, O Nature,
Turn our dark night to dawn.
It’s a new spring, roses are in bloom
Dew drops are falling from my cloudy eyes
This cage, like my heart, is narrow and dark.
O fiery sigh set alight this cage
O fate, do not pick the flower of my life.
O rose, look towards this lover ,
Look again, again, again.
O heart-lost bird, shorten, shorten, shorten,
The tale of separation.
Truth’s life has come to an end
Faith and fidelity have been replaced by the shield of war.
Lover’s lament and beloved’s coyness,
Are but lies and have no power.
Truth, love and affection are but myths
Oath and honour are but vanished.
For thieving, country and religion are pretexts, eyes are wet
Landlord’s cruelty, master’s tyranny,
The farmer’s restless from sorrow.
The cup of the rich is full of pure wine,
Our cup is filled with our heart’s blood.
O anxious heart, cry out aloud
And avoid those who have powerful hands,
Count not on justice.
O rosy-cheeked cup-bearer, give the fiery water,
Play a joyful tune, O charming friend.
O sad nightingale lament from your cage.
Because of your grief my heart is
Full of sparks, sparks, sparks.

Qamar-ol-Moluk Vaziri - Morghe Sahar parts 1 & 2

Pour son troisième épisode, @scorpion-metal-87 invite @user-153161389 aka Makinist (Mutants Mixtapes, EZrec, Ultravirus, etc.)

Scorpion Métal w/ Makinist (10/02/23)

@gregoirebruno (Musique Muscle @user-597893369) x Avant Radio

"Hello, this is Grégoire from Musique Muscle. Here’s some tracks I like to listen when I try to recreate the ashtrays of my home on Blender.
I hope you’ll like it."

Tracklist:
Haruomi Hosono - Saigono Rakuen (Japan, 1978)
Jeannette Ndiaye - Makom Ma Bobe (Cameroon, 1981)
Maximum Joy - Man of Tribes (UK, 1983)
Ralf Nowy - Akili Mali (Germany, 1986)
Der Plan - Space Bob (Germany, 1984)
Fun Boys Three - The More I See (The Less I Believe) (UK, 1982)
Chloe Eclipse - Jazzyy (France, 2023)
Steel Leg V. The Electric Dread - Steel Leg (UK, 1978)
Tapes - No Broken Hearts On This Factory Floor (Estonia, 202?)
J.G.G - D D BY (Spain, 2023)
Hamburger All-Stars - Studded Leather Jacket (UK, 19??)
General Strike - Guided Missiles (UK, 1984)
Happy Mondays - Delightful (UK, 1985)
Hailu Mergia & Dahlak Band - Minlbelesh (Ethiopia, 1978)
David Lynch & John Neff - Cannes Memory (US, 2002)

Grégoire Bruno - Avant Radio mix n.112

Tracklist:

Terry Riley - A Dervesh In The Nursery (Francisco Morgan remix)
Francisco Morgan - Marching Madness
Rick Ross - Hold Me Back (Francisco Morgan broken drill remix)
Sunn O))) - Frost (C) (Francisco Morgan mix)
Gustav Mahler - Symphony No. 5 in C sharp minor - IV
Ayub Ogada - Kothbiro (Francisco Morgan dub)
Freddie Hubbard - Brigitte

Event: Live at El Pumarejo w/ DA ROCHA UM, NUEEN, AKAZIE, SUNNY GRAVES & AIRE.

Live at El Pumarejo (Bcn) - 20.05.23

This seminal 3 LP Box set of Georgian Folk music, featuring enthralling harmonies, ranging from the melodious to the dissonant and abstract, are available for Flac and MP3 download on my blog:
 https://music-republic-world-traditional.blogspot.com/2023/07/georgia-georgie-georgia-in-folk-song.html

Georgia in Folk Songs – Melodiya 016491– 016496 (3 LPs)

Georgia polyphonic vocal Mix

http://bidoun.org/articles/bidoun-mix-1

Ahmad Pezhman — Mastom Mastom
Farrokh Gharib — Salam Tanhayi
Massih Ahmadzay ft Ahmed Ahmadyar — Nazaninam
Toofan — Barelha
Radio bewran live/www.beuran.mihanblog.com — Aloo
Suren — Shahrzad
Behzad Leito — Mese Khoete
Dariush Dolat Shahi — Sama (Tar and Electronic)
Johar Ft. Kiarash & Mansour Hosseiny — Moharram
Faramarz Asef — Haji 4
Fakhraldin — Shuve 5shanbe

Bidoun Mix 1: Bidoun

"Intimate Ghosting", a compilation album featuring nine musicians from Japan and South Korea, is being newly introduced to the roster of the Netherlands/US-based record label Psychic Liberation. Under the curation of novelist and musician Jiyoung Wi, the album contains the works of Arexibo (KR), Arles (KR), bela (KR), Jiyoung Wi (KR), Joyul (KR), Kazumichi Komatsu (JP), Kenji (JP), Ultrafog (JP), and Yeong Die (KR). ‘Intimate Ghosting’ is a lucid invitation to the effervescente sonic field progressing throughout the experimental, left-field, ambient music communities of said regions. The album artwork is from Moon Bae, an artist working in the US and South Korea.

Curation : Jiyoung Wi
Mastered : Elizabeth Davis
Design : Moon Bae

Distributed in the United States by Fantastique LLC

Intimate Ghosting

INTIMATE GHOSTING

A3. BELA - CONTINENTAL RELIEF

EXTRA-GENRE COMMUNITY RADIO «FANTASIA» ORIGINATED BY TYPOGRAPHY CENTER WORKERS IS TO CREATE A PLATFORM TO SPEAK OPENLY ABOUT ACTUAL PROBLEMS OF THE WORLD SOCIETY AND ARCHIVE MATERIALS COLLECTED BY ARTISTS, CURATORS, JOURNALISTS, ART AND SOCIAL THEORISTS, SONIC RESEARCHERS AND SOUND POETS.

WE CREATE AN IMPULSE AND HOPE THAT IT WILL FIND AN OUTLET IN DIFFERENT POINTS OF REALITY, WE WANT TO COME TOGETHER WITH THOSE CULTURAL WORKERS THAT CONTINUE TO WORK IN DIFFICULT SITUATIONS ALL AROUND THE WORLD.

WE CONSIDER IT IS IMPORTANT TO FIGHT FOR YOUR RIGHTS, STATEMENTS AND FREEDOM IN VARIOUS FORMS. THERE ARE DIFFERENT WAYS OF CIVIL RESISTANCE, SPREADING INFORMATION ABOUT WARS, CONFLICTS, DISCRIMINATION AND A CLEAR AND UNAMBIGUOUS EXPRESSION OF THE POSITIONS.

Diary page 007 – Ored Recordings

Radio Fantasia

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