Radiophrenia 2015 Live-to-Air Performances

Radiophrenia 2019 Production Commissions

Radiophrenia 2020 Production Commissions

Radiophrenia 2016 Production Commissions

Radiophrenia 2017 Production Commissions

Sylvia Wynter’s Maskarade (1973), uses the concept of “Reverse Time” as way of interpreting “carnival-time” and the performance of the world turned upside down. Up becomes down and forward becomes backward; the procession moving in opposing time.

Using an autobiographical approach, OHCE is a sonic procession. Field recordings and choreographic directions situate the listener within the liminal position between two places, Guyana and Scotland; using sound, memory, composition and movement to meet an echo backwards.

Ashanti Harris is a multi-disciplinary visual artist and researcher working with dance, performance and movement, alongside sculpture, film, sound and installation. With a focus on re-contextualusing historical narratives, Ashanti’s work explores the movement of people, ideas and things and the wider social implications of these movements. Her recent research subjects have included dance of the African and Caribbean diaspora in Scotland and Speculating the historical legacies of Guyanese women in Scotland in the 18th and 19th centuries. As part of her creative practice, she is co-director for Project X – a creative education programme, platforming dance and performance from the African and Caribbean diaspora; and works collaboratively as part of the collective Glasgow Open Dance School (G.O.D.S) – facilitating experimental movement workshops and research groups. Recent solo shows include: The Skeleton of a Name, Transmission Gallery, Glasgow (2019); Second Site, Civic Room, Glasgow (2019). Recent group shows include: Being Present, OGR, Torino (2020); In The Open, The Common Guild, Glasgow (2020); Alchemy Film Festival, Hawick (2020); Pre-Ramble, David Dale, Glasgow (2020); Walking Through the Shadows Eyes Open, SUBSOLO Laboratório de Arte, Sao Paolo, (2019); BLIP! as part of Annuale 2019, Broughton Place, Edinburgh, (2019); As of Yet, Many Studios, Glasgow (2019); Just Start Here, The Anatomy Rooms, Aberdeen (2019); Festival of the Not, Circa Projects, Newcastle (2019)

www.ashantiharris.com

www.projectxplatform.co.uk

Ashanti Harris - OHCE

This piece is inspired by early electronic music, primarily the work of Tod Dockstader, and the retrofuturism of new towns built post WW2 (I lived in Cumbernauld as a teenager and my family still live there). 

Helena Celle is a former audio engineer and Scottish Album of the Year Award shortlisted audio producer, who currently produces an hour or more of original music broadcasts distributed every month via Patreon.

Music for New Towns is a co-commission between Radiophrenia and Kunstradio Radiokunst for Ö1, Austria.

Helena Celle - Music For New Towns

A sound collage of audio snapshots sent from around the world captured on phones and digital recorders in response to lockdown.The recordings were used as source material for a live performance from Lyken’s Dumfriesshire studio, with additional processing and fragments of sound overdubbed later.

A mesostic poem accompanies the piece, written using the index letters R, A, D, I, O, P, H, R, E, N, I, A to select fragments of text from the descriptions that accompanied the recordings.If you would like to read the mesostic as you listen, it can be viewed here

Mark: Edit, text, mix, processing

Collaborators:theta (Tromso, Norway), Colm McAuliffe (London, England), Alan Currall (Wanlockhead, Scotland), Anonymous (New Orleans, Louisiana), Ruaridh Law (Paisley, Scotland), Lee Ming-Yu  (Taipei, Taiwan), Alicia Hood (Burnhead, Scotland), Matt Atkins (London, England), Garry Maclennan (London, England), VEX (Dundee, Scotland), Abby Carter (Edinburgh, Scotland), Erlend Tait (Black Isle, Scotland), Jana Robert (Glasgow, Scotland), Jos Smolders (Tilburg, Netherlands), Jason Moyes (Borders, Scotland), Kate Davies (Shap, Scotland), Ian Watson – (Cardiff, Wales), Amy Whiten – (Portincaple, Scotland), Stephen Skrynka (Glasgow, Scotland),  Ros Fraser (Glasgow, Scotland), Aura Lynx (Bloomington, Indiana), Nadia Jones (Glasgow, Scotland), Skoddie (Tustin, California), Pete Smith (Edinburgh, Scotland), Lucy Parnell (Moniaive, Scotland), Emma Dove (Tokyo, Japan), Jackie Paper (Glasgow, Scotland), Dominic Khoo (North Region, Singapore), Jim Colquhoun (Bonnyrigg, Scotland), Tommy Perman (By Kinross, Scotland), Leonie Berman (Penpont, Scotland), Florencia García Chafuén (Lake Mergozzo, Italy), L.A.W (Dundee, Scotland)

Mark Lyken - Borrowed View

wander in square waves | from my thought i’m at my shoes and from my step i’m on the ground, the surface of matter | asphalt | a moving bicycle chain spinning sound into my right ear | my notions roam again | i deliberately step aside | gras | a crumpled piece of foil | it resonates | bits of voices carrying information | i know that street | do i? | it used to sound different | treading on some pebble stones, chrunching them | the underground is empty | sleeping | not sleeping | noises appear loader this year | aiming for a rhythm | step by step | getting lost | not marching but walking along lines | more lines | trying to avoid them | a puddle’s echo | my feet shuffle in quad | repeating the same trot | is it a rumble or a murmur behind that pole | trying to unlearn what i hear and see | wind purrs | a crow just shat on me | i remember | traipse is a word i didn’t know | meander   

“…thinking is generally thought of as doing nothing in a production-oriented culture, and doing nothing is hard to do. It’s best done by disguising it as doing something, and the something closest to doing nothing is walking.” [Rebecca Solnit in Wanderlust]

Nika Breithaupt alias Nika Son works as a musician, artist, film sound-designer, Dj and curator after graduating in Fine Arts at the Art Academy in Hamburg in 2012. Influenced by Musique Concrète and the outer space of electronic music, her compositions are built from deformed and fragmented fieldrecordings, interweaving with analogue synth lines, broken rhythms, rare voice scraps and filtered tape layers. As a sound artist she became a dedicated hunter of extraordinary sounds and discoveries of new and old technologies in music. Sounds of various origin are translated into a very unusual musical language, as if one watches the audible.

She has played at international festivals such as Intonal, Meakusma, IFFR, Klub Katarakt, Nuits Sonores etc. and released on various labels, such as Mmodemm, First Terrace Records, Sky Walking, Anti-Ghost Moon Ray and her own imprint Noctui. Her debut album was released in March 2020 on the Belgian-British label Entr’acte.

Next to her solo project, she has been collaborating with various artists for many years now, foremost with the filmmaker Helena Wittmann and the musician F#X. Furthermore she hosts regular art and music events at the Golden Pudel Club in Hamburg since 2011 with various international guests. In July 2018 she staged a two-day festival called Eruption, freely based on the musician and video artist Conrad Schnitzler and since 2019 she is part of the curator team of the papiripar festival. 

As a DJ, her waywardly sound is marked by the outer space of electronic music, spanning from musique concrete, early electronics, synth wave, Industrial, Noise, Kraut and experimental Techno.

www.nikason.de

Nika Son - I No You - a piece of walk

Embodied through words, sounds and voice “From My Window: Dreams, Hopes and Disappointments” is a sound collage that explores field recordings taken from the windowsills in my house, escapes from New York City and reflections on what it means to dream through chaos.

Rena Anakwe is an interdisciplinary artist and performer working primarily with sound, visuals, and scent. Exploring intersections between traditional healing practices, spirituality and performance, she creates works focused on sensory-based, experiential interactions using creative technology. 

Currently, Rena is a 2020–21 resident of the Abrons Arts Center AIRspace performance program. She was also a 2019 ISSUE Project Room artist-in-residence, a 2019 Abrons Arts Center Sound Series commissioned artist, and a 2018 Signal Culture artist-in-residence. She has collaborated, produced, and shown work at New York City institutions including: Dia Foundation, Fridman Gallery, Knockdown Center, Lincoln Center, MoMA PS1, CultureHub, Pioneer Works, and Montez Press Radio. Most recently, under the moniker A Space for Sound, Anakwe released the first in an ongoing audio series titled “Sound Bath Mixtape vol. 1”, through the New York City-based label and collective PTP. 

Rena is based in Brooklyn, New York, by way of Nigeria and Canada.

www.aspaceforsound.com

Rena Anakwe - From My Window Hopes Dreams And Disappointments

Yes, radio transports signals across a variety of distances. But does it leap time…? No. What would happen if it were to jump to the future, passing through both time and space? The sound source of this recording is a series of radio broadcast captured when I visited Morocco in 2010. During the two-week trip to Tangier, Fez, and Marrakesh, I kept making field recordings of daily news or local music programs, recordings which I’ve now randomly edited for this 60-minute piece. Beyond radio’s typical function of frequency relay and capture, I wanted to produce an illusional frequency—collapsing time and space and expanding the territory of our aural imagination. With our activities now delimited by our local vicinity, travel is rare and encounters with others are limited. We have found ourselves hemmed in at a moment of political and social turbulence. I just thought travelling somewhere, even though it’s imaginary, could be refreshing and inspiriting for our minds.

Aki Onda is an artist and composer currently based in Mito, Japan. He is particularly known for his “Cassette Memories”—works compiled from a “sound diary” of field-recordings collected by using portable cassette recorder over a span of last three decades. Radio is another medium Onda loves and often uses for creating compositions and performances. Onda has presented his work at numerous institutions and festivals such as documenta 14, Louvre Museum, Pompidou Center, Palais de Tokyo, Fondation Cartier, Présences électronique, Argos, Bozar, ICA London, Counterflows, International Film Festival Rotterdam, The Kitchen, MoMA, REDCAT, Time-Based Art Festival, and Nam June Paik Art Center. In 2020, Onda reissued three of his Cassette Memories albums on Room 40 and released two new solo albums. The other two forthcoming albums include his first duo album with Japanese artist Nao Nishihara on Fttari, and his third album with frequent collaborator Akio Suzuki on Hasana Editions. 

akionda.net

DJ أمواج a.k.a. Aki Onda  - Ghost Frequency (excerpt)

In making Three Sweep Between, their new commission for Radiophrenia 2020, Roy Claire Potter and Kieron Piercy had meltdowns; it’s not an easy time to make work. They used a terraced house layout to build and inform their interrelated recording and writing process, which brings synthesised and manipulated sounds together with visual descriptions to reimagine a total shithole’s lost potential. 

Roy Claire Potter is an interdisciplinary artist mainly making written texts and performances. Kieron Piercy makes audio composition, improvisation and installation. Between them they have audio released by SubRosa, Chocolate Monk, FortEvilFruit, Harbinger Sound and Porta.
They are tired.

Roy Claire Potter And Kieron Piercy - Three Sweep Between

A new radiophonic composition continuing OOR_Scintilla’s dialogue around materialities of intimacy, distance, ‘live’ and recorded dynamics. Ancient spiritual apotropaic markers found within churches and standing stones or ritualistic gestures of contact are taken as reference points for seeking out unknown ‘third’ presences within landscapes, weathers, voices and the making and playing of instruments.

The work incorporates a number of new sited and remotely realised performances recorded along waterways and forests in and beyond Edinburgh, as well as reworked/unheard material from OOR_Scintilla’s recent album project The Whiteadder Tapes situated in the Lammermuir Hills.

voice, crwth, harmonium, violin, hurdy gurdy, gongs, DIY aeolian harps and horns, field recordings, infra- and ultra-sonics, hydrophonics, electromagnetics

OOR_Scintilla (Louisa Love + Clive McLachlan Powell) are an Edinburgh-based collaborative artist duo exploring the material poetics of sound, voice and place. They work improvisationally with numerous forms of resonance across processes of field recording, musical performance, sculptural production, objects, electronics and the voice to produce environmentally-responsive audio works exploring hybrid and unstable conditions. Drawing on ancient origins, local and folkloric narratives, they are interested in the gestures and enigmatic territories that interconnect bodies, places, histories, technologies and natural phenomena, engaging with sounding and listening as acts of embodied archaeological research. The duo have come to define themselves through a humble and intuitive approach which employs only the environment, the human voice, the physicality of materials and mostly traditional instruments as raw material. These form the basis for an unsettled sonic dialogue rooted in multichannel natures and the wilding of latent identities.

In September 2020 OOR_Scintilla released The Whiteadder Tapes, an album of sonic archaeology compositions responding to the Whiteadder Water Valley, Scottish Borders, produced in conjunction with AOC Archaeology through a major project of new community-led excavational research (2019-20). 

www.louisalove.co.uk

cargocollective.com/clivemcsculpturesound

OOR Scintilla - Unknown Thirds

Nwando Ebizie - 

Fire Prevention
Or
How to sing a labyrinth
Or
The rebeing and the burning of the labyrinth

An experiment in an audio-ing a labyrinth;  tangling and untangling the thwarted pathways of a mythopoetisised history towards a transformational fire ritual.

How to weave a story into being when I am caught, tangled in the middle
How to reach the crux when the wyrding way turns me about and about and I know the point is far away. And I have to crawl on bandaged knee to get there
How to share a journey when you were never there to feel the stony ground
What rough beast is waiting, waiting to be born in the embers
When were they burned?

The task of the wild woman is to open and be opened
The doors of perception are always just beyond reach but a constant cycle of life death life, of re-initiation will bestow many keys
The labyrinth will determine the correct key
And you are the whole
The task of the wild woman is to open eyes and open thighs and allow the light to pour in

To pull the thread and follow around the walkways
Then gather it all together and weave the tapestry of her own existence
To gather dead stuff, lay it down, sing over it, breathe from the vagas enraptured soul and begin again, remake the broken body and sing the old song until it is new.

We travel through time and space while we listen
You my friend and I
I guide you and you guide me

Maybe by the end of you listening to me I will have the answers

Includes binaural recordings, headphone listening welcomed.

Nwando Ebizie is a constellation point for a spectrum of multidisciplinary works that call for RADICAL change.

She challenges her audience to question their perceived realities through art personas, experimental theatre, neuroscience, music and African diasporic ritualistic dance. Carving out her own particular strand of Afrofuturism, she combines research into the neuroscience of perception (inspired by her own neurodiversity) and an obsession with science fiction with a ritualistic live art practice.

Works include her immersive sensory environment Distorted Constellations, her pop persona Lady Vendredi (a blaxploitation heroine from another dimension!) and the building of her long-term operatic experience, Hildegard: Visions. This award winning work has toured across the world. She has performed in Tokyo (Bonobo), Rio de Janeiro (Tempo Festival), Berlin (Chalet), Latvia (Baltais Fligelis Concert Hall) and Zurich (Blok) as well as across the UK from Home MCR to the Barbican and Southbank Centre.

Nwando works across media, genre and artforms creating mythopoetic metanarratives and alternate realities. Her work is a drawing together of the pieces that she is in a frozen moment of ever-living infinite regress.

Always political and grounded in a mytho-scientific perspective she invites viewers and participants to join her at the Crossroads. At the crossroads where you can choose to pass through the cosmic mirror and touch alternate realities. The realities of what could have been and what should have been and what may possibly be. She works with speculative fictions, possible dreams and lucid worlds.

www.nwandoebizie.com

Nwando Ebizie - Fire Prevention

Overwhelming Waves is an essay in radio signal and radio noise. It is a collage of shortwave radio captures recorded by Jeff Gburek at various locations, some spanning 25 years, recomposed & combined with an spoken word commentary about the meaning of this listening process, the relationship of the earth to the ionosphere and the electro-magnetic resonance of the planet reflected in radio waves where the individual listener is a creative participant, an electroreceptor and transmitter of consciousness. References include Pauline Oliveros, Thomas Ashcraft and Douglas Kahn.

Jeff Gburek is a sound artist & composer who has incorporated radiophonic signals/noises and radio processing in his electro-acoustic works since 1993, when he recorded a series of live shortwave assemblages entitled Radio Wide World in Firenze, Italy. This transformative encounter with an earth-spanning signal system aired marginally: on WFMU and New Mexico’s Aetherfest, and eventually self-published in a 4 cd set in 2003. It was at this time he coined the phrase radiophonography to describe his particular style of field recording and DXing while traveling abroad. Radio Wide World would only be more widely heard in 2011 when younger Chicago-based pirate radio art enthusiasts invited him to present his work as a Radius episode # 11 (https://theradius.us/), which led to the first reviews of the project. In more recent times, his radio works have been disseminated via Wave Farm in NY and at scattered European art events. He has published for the last 3 years radio-phonographic works, musique concrete and  works via Radiophrenia Glasgow and has held artistic residencies in Indonesia, Berlin, Amsterdam and Brussels. He lives in Poznan currently.  

transparent-abelard.blogspot.com

Jeff Gburek - Overwhelming Waves

The Yard, The Room Upstairs (Still Life) is a tape work inspired by allegorical vanitas paintings. Aiming at a moving target, the piece explores the elusiveness of memory by alternating two thematically connected field recordings, each time with overdubs and treatments gradually replacing the original source.

Two memories are revisited alternately three times each. The piece starts out from two short scenes recorded on site: a yard sounded by crickets and a piano in a room. Banal yet charged with what is absent: other senses, inaudible sonic details, layers of emotion. These scenes are recreated three times: first with the original source, the second time with part of the source and the third time without the source.

Scene I: The Yard
Date: August 14, 2020, South-West Finland
Setting: An almost empty camping ground. A remnant of the welfare culture of decades past. A remote bay surrounded by forest, houses, cottages and sheds, peeling red paint. An overgrown playground and mini golf court half sunken into the soft ground covered with pine needles.

At dusk, walking across the yard. The air has a smokey quality and is filled with the rise and fall of the sounds of crickets. They are always at a distance, never near, stopping when you enter their field, then starting again a few moments after leaving it, like the wake of a boat swelling back into the sea. A mouse runs across the gravel and freezes motionless under your gaze. Faint movements in the surrounding trees in full dark green at the peak of late summer. The light scent of burning logs.

Revisit the memory of this moment over and over as it evades you, like the crickets, the wake.

Scene II: The Room Upstairs
Date: August 29, 2020, Southern Finland
Setting: A yellow house surrounded by fields. Windows in all but one direction. Afternoon sunlight. A rarely played piano in a large living room. A dishwasher humming in the adjoining kitchen. The presence of people downstairs felt but not heard. Amateur oil paintings adorning the walls. Portraits, landscapes and still lives, mostly. A book case filled to the ceiling with 70’s and 80’s bestsellers. A stuffed snake on a shelf, a cow hide rug, a hearing aid and batteries on a mahogany coffee table, a pair of large slippers. Another scene inhabited by the remnants of hobbies, leisure time, objects to fill out the measures of an afternoon that grows longer with each year.

Play along to the piano.

The piece contains samples of rehearsal recordings from another work in progress with Aino Juutilainen (cello), Johanna Kalliokulju (mezzo-soprano) and Villa Ruscica (harp).

Marja Ahti (b. 1981) is a Swedish-Finnish sound artist and composer working with field recordings, electronics, feedback, magnetic tape and digital treatments. Her work gravitates towards organic textures and intuitive tunings, assembling rough edged yet precise compositions, poetically narrative and rich in detail. Ahti has presented her music in many different contexts around Europe, in Japan and the United States. She is currently active as a duo with her partner Niko-Matti Ahti and in the artist/organizer collective Himera.

www.marjaahti.com

Marja Ahti - The Yard, The Room Upstairs (Still Life) (excerpt)

Revisiting a shared archive of recorded sounds, it, still is a patchwork of edited, processed and resampled material. Listening for small sounds and moments of intimacy, the work explores the potential of previously disregarded recordings to form new relationships.

soft tissue is a collaboration between Glasgow-based artists Feronia Wennborg and Simon Weins. Working with DIY electronics, domestic recordings and digital feedback, the duo plays within networks of lo-fi amplification, blurring the boundaries between initiated and environmental sounds. 

Recent projects include a self-titled tape release on London-based label Penultimate Press (2019), a commissioned audio-visual piece for West Den Haag, Leaks (2020), and a residency at CCA Creative Lab through AC Projects (2020).

it, still is a co-commission between Radiophrenia and Kunstradio Radiokunst for Ö1, Austria.
Visual Portfolio, Posts & Image Gallery for WordPress

Soft Tissue - It, Still

Ever and ever, forever and ever, you’ll be the one that shines in me like the morning sun. (This is an audiowork about joy and self-love and their interplay.) Ever and ever, forever and ever, you’ll be my spring, my rainbow’s end and the song I sing. (Initially envisioned as an hour long rendition of ‘forever and ever’ by Demis Roussos, the piece evolved to be a reflection on karaoke as a form of love.) Take me far beyond imagination. You’re my dream come true, my consolation. (Inspired by the philosophies of Audre Lorde, Sonya Renee Taylor, Prentis Hemphill, adrienne maree brown and doggface from instagram, along with the love songs of Roussos, Burt Bacharach and Whitney Houston, the piece evokes joy as an act of resistance to capitalism.) You’ll be my dream, my symphony, my own lover’s theme. (The piece practices self-love by singing love songs to itself. The piece remembers joyful dreams dreamt during lockdown, euphoric dreams of endless space, adventure, friendship and belonging.) Ever and ever, forever and ever, my destiny will follow you eternally.  

Tilly Alexander Hallworth aka tandsmør (she/her) is a poet, musician, sound artist and cycle instructor living and working in Glasgow.

https://tandsmor.bandcamp.com/

Tandsmør - ever and ever (forever and ever)

Time is a sliding door –  but if so, what does it mean?

“Time is a Sliding Door” is a variation of Ralph Waldo Emerson’s saying that “Reality is a Sliding Door”. As if that wasn’t tricky enough, substituting ‘reality’ with the noun ‘time’ unravels a kaleidoscope of meanings and implications that turns the ground of our presumptuous existence into a wobbly pudding. If Time is a Sliding Door, and we push it aside, what happens beyond the threshold? The act of sliding means that the other side is only slowly revealed. As well as with a thud, thunder and roll. As radio is a medium which transgresses our notion of time and space, both naturally and effortlessly, how does it come into the picture? If the door opens onto a 5th dimension, and/or still others, how could this be ‘enlistened’ into a radiophonic scape? To be honest, the author of these lines doesn’t actually know, and how could she?

As humans we continue to be tethered to time as a condition of our communication, our perception, our being. It just seemed fit to start with a speedy panorama of the “Swabian-Alemannic Fasnet”. Fasnet (or “Fastnacht”) is also called the “fifth season of the year”, and is recorded in central Europe at least since the 13th century. Its presentation of an inverted world, the parades of Jesters, Fools and Witches, the almost deafening onrush of drums, ‘Fools Cries’, trombones, trumpets and bells truly create a different time horizon.Other acoustic inhabitants of this composition are the cuckoo-clock and clocks in general, as this region of Germany is famous for its clock-makers since the 17th century. And after all, it is not just the shamans of the Northern Tunguska who believe that the cuckoo’s call presages the number of years one has left to live…

 Time is a Sliding Door sticks to the human dimension, playing with the acts of acceleration and deceleration, with the notion of journeying (we shall be travelling from the Black Forest to New Mexico and from there to Slovenia – at least), spellbound by folk tunes, with the whisperings of shortwaves captured in open and discreet places. Hidden stories keep on drifting through radio space, sites and signals keep travelling, and wherever they may go, eventually an alien molecule, touched by radio might spark off the impulse for that door to open up into the unforeseeable. Meanwhile, we’ll keep hanging around this auditory doorstep.

Credits:

Accordion: Olsen auf Aldebaran

Musical Saw: Mimosa Pale

Singers: Sanne Drouhin-Kok, Ulrike Stoehring and Lilli Moors, Fernando (guest appearing for “Adopta una planta”/Datscha Radio, Madrid).

Drums: Paddi (Patrick Guderitz), Toni Brokoli (Pascal Dinser aka Kalle Dinsko) & Junk (Thomas Jank)

Special thanks to: Global Forest e. V., Black Forest!

Gabi Schaffner works as a trans-disciplinary artist within the realms of radio art, composition and performance. Her artistic practice is determined by the methods of poetic ethnography in connection with fluxus-like mise-en-scènes, radio-making and sound art performances. Much of her work originates from journeys. Next to her radiophonic productions, Schaffner creates speculative musical genres and inserts them into music history in order to raise awareness for cultural, gender-related and/or geographical conditions.

Schaffner has been realising award-winning productions with Deutschlandfunk Kultur, radia.fm, Hessian Cultural Radio and ABC Australia. Since 2012 she maintains “Datscha Radio”, a nomadic transmission project that links the medium of radio to current ecological issues.

As a writer and translator, she has published numerous texts; most recently: “RevoltenDiaries”, in: Radio Revolten, 2019. She holds a MA in literature and ethnography and a diploma in visual communication. Gabi Schaffner lives in Berlin.

Current work:
Fazzoletto per un eternità. Performance and vinyl edition, 2020
Rapid(s)Trains: Geolocated audio walk for Open Gorey, Wexford, Ireland. 2020-2021

https://schaffnerin.net

Gabi Schaffner - Time Is A Sliding Door

In collaboration with Radiophrenia and the Goethe Institut Glasgow ‘Mobile Radiophrenia’ was a cultural exchange and radio residency that resulted in five new live broadcast works. The artist duo Mobile Radio (Sarah Washington & Knut Aufermann) from Ürzig in Germany were invited over to work with five Glasgow based artists or artist duos on an intensive daily collaboration that culminated in a live radio performance at 5pm each day. The performances were devised within the following framework:

‘Glasgow Calling Scale: a verbal response series in five parts’
There are five grades starting with the most musical:

Mon 14th Feb       
No verbal response
Eothen Stearn, Lady Neptune, Knut Aufermann, Sarah Washington.

Tues 15th Feb     
Incomprehensible sounds
Elina Bry, Knut Aufermann, Sarah Washington.

Weds 16th Feb    
Inappropriate words
Cindy Islam, Knut Aufermann, Sarah Washington.

Thurs 17th Feb    
Confused
Nichola Scrutton, Knut Aufermann, Sarah Washington.

Fri 18th Feb  
Oriented
Rebecca Wilcox, Hannah Ellul, Knut Aufermann, Sarah Washington.

Mobile Radiophrenia 18th Feb - Rebecca Wilcox & Hannah Ellul

Mobile Radiophrenia 17th Feb - Nichola Scrutton

Mobile Radiophrenia 16th Feb - Cindy Islam

Mobile Radiophrenia 15th Feb - Elina Bry

Mobile Radiophrenia 14th Feb - Lady Neptune & Eothen Stearn

Elizabeth Veldon & Mary Knox present ‘A Shorter History of Radio’ – This piece discusses the history of radio as a medium both for entertainment and as a tool for the propagation of propaganda. The piece is for two players and will feature texts drawing on both literary and academic representations of radio, electronic music and the sounds of radio itself. 
An excerpt from a live-to-air performance commissioned as part of Radiophrenia, a week-long radio art station broadcasting from Glasgow’s Centre for Contemporary Arts in April 2015.
www.radiophrenia.scot


Elizabeth Veldon & Mary Knox - A Shorter History of Radio (excerpt)

A series of sound poems performed as part of Radiophrenia, a week-long radio art station broadcasting from Glasgow’s Centre for Contemporary Arts in April 2015.
www.radiophrenia.scot


Nichola Scrutton - Sonnets (excerpt)

A live-to-air performance commissioned as part of Radiophrenia, a week-long radio art station broadcasting from Glasgow’s Centre for Contemporary Arts in April 2015.
www.radiophrenia.scot
‘The Balderwick Codex’ by Jim Colquhoun and Jamie McNeill – “A New Statistical Account of the Parish of Balderwick and Environs. Including: a Sucking Bog, an Importunate Erection, a Dead Dad, Fish Slaughter, Two Pricks and a Man, a Worthy Man, in Happy Mood, Conversing with a Fly.”

Jim Colquhoun & Jamie McNeil - The Balderwick Codex (excerpt)

‘A Hidden Quiet Pocket’ is a dialogue between a masseuse and her rich client. The client has a nice little apartment in the city centre and she needs some advice about how much rent she could possibly charge for it. The masseuse is more than happy to provide help. This performance also features Barry Burns.

A live-to-air performance commissioned as part of Radiophrenia, a week-long radio art station broadcasting from Glasgow’s Centre for Contemporary Arts in April 2015.
www.radiophrenia.scot


Shelly Nadashi - A Hidden Quiet Pocket (excerpt)

As part of the Radiophrenia 'live-to-air' series Felix Kubin presents ‘Paralektronoia’ – Paralektronoia examines the correlation between electricity and paranormality. In his lecture performance – which is based on his 2004 radio play for WDR broadcast – Felix Kubin introduces a subjective choice of pervasive concepts of different realities using audio examples that range from interviews and live music, excerpts from radio plays, to sound experiments. In order to track down “Paralektronoia”, he collected inventors and musicians who research the effects of invisible oscillations on the psyche using systematical field studies and radiophone experiments.
Listen to your inner voices. Your radio is listening, too.
Featuring interviews with a.o. Alvin Lucier, Carl Michael von Hausswolff, Lionel Marchetti, Asmus Tietchens and Mika Vainio, as well as diverse scientists.
Radiophrenia was a week-long radio art station broadcasting from Glasgow’s Centre for Contemporary Arts in April 2015.
www.radiophrenia.scot


Felix Kubin - Paralektronoia (excerpt)

Prior to the Internet, I grew up on a Scottish island, feeling deprived of many a thing. Popular radio was broadcast on both AM and FM, but due to harsh weather conditions, inconvenient landscapes and general far-awayness, signals often experienced interference or were limited. At midnight, the music I listened to on the crackly but more reliable AM would be interrupted half-way through by a jolly male voice, repeating a warning that broadcasting on this frequency would, due to a government decision, be phased out altogether to be replaced by better, more modern FM. Night after night, I lay in contorted positions in my bed, holding onto a wire aerial so I could receive and cling onto a mangled FM signal, all in a desperate battle to preserve my grasp on the here and now of mainstream pop and contemporary late night chatter.

This is an experimental narrative that attempts to re-enact my experience as a radio listener, and consolidate two opposing characters: the slick hiss of FM and the dull thud of AM. Aerial Holding Hands will be aired as a split broadcast with a different channel on the FM broadcast and the Internet webstream. Two separate pieces, each 27 minutes long, one no better than the other. They can be played simultaneously, or individually, depending on your listening circumstances at the time.

Written and produced by Catriona Shaw except ‘Transmission’, written by Joy Division (Curtis; Morris; Hook; Sumner)
Co-production by Fred Bigo Shaw.
Recorded in The Padded Cell, Berlin, Germany and Le Chantier, Louverné, France in 2016.

Catriona Shaw grew up on the Orkney Islands and studied art in Edinburgh, Munich and Berlin. Her multidisciplinary practice combines drawing, performance, music and participation, as well as a number of collaborations including the band Queen of Japan, and art collectives Club le Bomb and gooeyTEAM. She has performed and exhibited in diverse international venues and festivals.

www.misslebomb.net
www.gooey.de

Catriona Shaw - Aerial Holding Hands - Stereo Split

What You See is the third sound work Dinah & Jean-Philippe have made inspired by aerial disappearances and crashes. In June 2016 during a residency in Kilpisjarvi, Northern Finland, they came across the crash site of a WWII German Junker bomber plane, brought down in the midst of the bleak Arctic landscape in 1942. Over seventy years later remnants of the aircraft are cleary visible, possible wing parts, piping and rusty metal are fused and fossiled into the stony lunar landscape, like a decaying dinosaur carcus, or perhaps a forgotten memorial to those who perished. The recordings in this piece were made almost entirely on site.

DinahBird and Jean-Philippe Renoult are sound and radio artists based in Paris. They often work together making radio works, installations and soundtracks.
Recent works include Take Flight, a composed soundscape starring planes, drones and frequencies, made for ABC’s Creative Audio Unit and A.V.I.O.N, a sister installation inspired by the parallel world of aircraft navigation systems. DinahBird’s radio relay record A Box of 78s is having a rest after it’s 18 month trip around the world. Jean-Philippe’s audio graffitti project, TagAudioLoops was last seen and heard at Waverly train station…

bird-renoult.net

What You See

Dinah Bird & Jean-Philippe Renoult - What You See

Part of my continuing exploration of a ‘distended’ abstraction rooted in everyday activities, Arena On Energy On Tape is a drifting, layered composition woven from field recordings, appropriated and altered sounds, discrete performance, and time stolen back from work.

Referencing a found motivational tape, and the BBC2 arts strand (and it’s Eno title music, appropriated previously in my 2003 video Arena) the piece is a soup of binaural immediacy, approximate noise, elusive periodicy, and mangled guitar and natural forces, all filtered through saturated tape loops, and a cannibalised Leslie cabinet.

Stuart Gurden is an artist working primarily with sound and video, he is drawn to the tensions between creativity, technological evolution, and the processes of cultural recuperation. He graduated from Glasgow School of Art’s MFA in 2000, and has exhibited across the UK and abroad, receiving various awards including the Scottish Arts Council Film & Video Award. He was short-listed for the 2012 Margaret Tait Artist’s Film Award.

soundcloud.com/stuartgurden

Arena On Energy On Tape

Stuart Gurden - Arena On Energy On Tape

The Edible Pet by Zoë Irvine and her son Logan, with contributions from family and friends in Edinburgh, Cornwall and SW. France. A story that crosses continents, travels from pet keeping to dining table, taking in some back garden ethics, pet psychology, trans-species music making, dramatic mishaps, life, death and recipes.

There are some scenes of a graphic nature, this programme contains meat and may not be suitable for vegans or vegetarians.

Featuring in order of appearance: Daniel Manson, Rab Lendrum, Chloë Manson, Gilberte Manson, Juno Neil, Rebecca Palmer, Eva & Nicole, Logan Young, Alexia Allen, Doreen Young, Jill Lendrum, Michelle Davitt, Pauline Wilson, Morris Young, Robert Young, Geraldine Brenner, Osvanira Alves & Jane Hunter.

Extracts from A Household Book for Africa by E.G. Bradley read by Michelle Davitt.
Extracts from humane animal harvest video with Alexia Allen by Paul Wheaton. https://richsoil.com/raising-chickens.jsp
Bird calls by Elise Rouanet & Aimé Souyri from ‘Charmeurs d’Oiseaux’

Original music by Zoë Irvine & The Galloanserae Experimental Ensemble.
Additional songs Le Poulette Grise – Alan Mills ; Poullette – Béatrice Maillet; Ain’t Nobody Here but us Chickens – Louis Jordan.

With love to Grandma and in memory of Jackie.

Zoë Irvine is an artist primarily working with sound. Her involvement with Bill Furlong’s Audio Arts Magazine from 1994 – 2007 as a sound editor sparked a lifelong interest in the idea conversation and voice as potential artefacts in themselves. As a field recordist, Irvine has a particular love of soundscapes in which distance and space become perceptible.

zoeirvine.net
soundcloud.com/zebraphone
listenrecordcreate.blogspot.co.uk

Zoe Irvine - The Edible Pet

Embracing and updating the Radiophonic tradition, Sarah Angliss presents a spatialised sound poem inspired by The Signalman, Charles Dickens’ ghost tale for the industrial age. In this fractured retelling, Angliss plays with psychoacoustics and liminal sounds to conjure spectral resonances, ghostly cries and the gloom and dampness of a deep railway cutting. As sounds and music unfold, an isolated signalman becomes all too aware of a future horror he can do nothing to undo. This piece is created in collaboration with vocal artist Colin Uttley. For maximum spatial effect, please listen with headphones.

Voiceover artists: Colin Uttley (adult) and Nicholas Gowing (child).

Sarah Angliss is a composer, musical automatist and sound historian. Her work combines acoustic and robotic instruments with Max, electronics, found sounds and field recordings. Sarah’s work explores the uncanny properties of technology, revealing resonances between European folklore and early notions of electricity and sound. A prolific live performer, Sarah also works in theatre, creating distinctive sounds which blur the boundaries between sound design and musical composition. Her theatre sounds have most recently been heard in The Old Vic, London, where she evoked the overwhelming clamour of modernity in O’Neill’s Expressionist masterpiece The Hairy Ape (directed by Richard Jones).

www.sarahangliss.com

Sarah Angliss - Signalman

While planning to meet for a 24hrs. radiophrenia session, we managed to relaunch, yet again, our elemental theme, with which we are engaged during 2017-2018, namely, the Israeli colonisation and occupation of Palestine for 69, 70 years respectively.
We discuss Maya’s new piece “18 Songs” for Choir and ensemble in the Arabic language, a language which is officially excluded by the Israeli State, of which its texture is systematically used to distance, separate and scare the Israeli population although being the mother tongue of half of its’ citizens. “I innocently believe that through the work of music, choir members in Israel will get the chance to initiate and embrace the Arabic language, a Semitic sister of their own language… “ Meira’s “The Last shall be First” Sound-Text act, together with artist Eran Sachs, has just returned from its 2nd trial at HearSay Audio festival in Ireland. “Dissecting Fanon’s words on our Israeli Colonial bloody sound altar is another ambiguous issue to explore…”
We play parts of the projects, discuss them, and knead together some specific materials from them.

Featuring the voices and sounds of Daphne Banai – Machsom Watch, Tamer Masalha, Tamara Nasser, Bat-Kol Choir, Eran Sachs, Anat Pick, Faye Shapiro

Thanks: The Radiophrenia team, Guy Hirschfeld, Liam Evans, Jeff Zorilla.

Meira Asher & Maya Dunietz - Spawning in the name of

Julia Drouhin and Phillipa Stafford, as Sisters Akousmatica, investigate mysterious radio broadcasts known as “the Silent Key”.

Radio: drag the dial across frequencies at any given time, any given place and you will hear a cacophony of sounds. Static, pops and crackles, whistles, the tap, tap tap of the world and the universe going about its electromagnetic business. In between those sounds are stations: broadcasts that are music, news, chatter, cryptic messages and espionage. Stretching out around the world in a network of terrestrial communication, bouncing off the heaviside and landing back again to be collected by radio-listeners – in cars and in kitchens. Sisters Akousmatica are always listening – seeking out the strange broadcasts destined for…? Well, who knows. NM, SK begins to examine some of the recordings they have made in their quest to research “the silent key” – a series of broadcast messages that they discovered in the winter of 2017.

Sisters Akousmatica - NMSK

“So…s… so what we’re seeing here is that there are things you can’t immediately control… you can’t control the motivations and the actions… but what we are seeing them seek to control is the physical space around this as much as they can… there are people as we’ve been speaking to…who are locked in… into other locations… they are now clearing the space around it and they’re… controlling what they can… they can’t control what’s in the mind.”

Edited quotes from panelist Hugh Riminton, Studio 10 News, Network Ten, Australia, 15/12/14

Radio Presenter: Fletcher Mathers

Thanks to: Ronan Breslin at La Chunky Studios & Pete Dowling.

Jess Worrall & Rob Kennedy - The 3 Ring Circus Comes to Town

A radio performance based on Carl Sandburg’s Four Preludes to the Playthings of the Wind, with vocalist Laura Wiens.

Gregory Whitehead - Nothing like Us Ever Was

Eliane was my step-mother. She died last year from Alzheimers. In this piece I’d like to explore radio’s potential to evoke memory, disorientation and memory loss. Using her favorite songs on tape. And other memories. Sounds. Texts. Hers, mine. Ours.
sandstorm of memory/effacement/mental landscapes/details/temporal slide/bribes/cut-up method/erasing/éclats/sandstorm of details/memory landscapes/temporal cut-up/bits of landscape/erasing method/snipets of memory
Asking: In the end, is there anything to remember at all?

With the voices of François Cau, Isabelle Hainaud Griffiths, Eliane Ravanat, Gilbert Ravanat and Isabelle Stragliati.

noearnosound.net

Isabelle Stragliati - Nothing here now but - a tribute to Eliane

Jason Lescalleet assembles recordings to create a narrative meditation on the passage of time and our perception thereof.

Jason Lescalleet - Sketching An Arc

The Funnel is inspired by a visit to the Port Talbot steel works in Wales, various occult writings, the art of alchemy, European medieval and early renaissance music.
Now available to buy on vinyl at:
https://akashicrecords1.bandcamp.com/album/the-funnel

Wojciech Rusin - The Funnel (excerpt)

Following the outreach activities of Glasgow's art radio station Radiophrenia we see how some of Scotland’s diverse communities are discovering the joys of sound art. Join the new generation of noise-makers, as they get creative with their sonic environments.

The very idea of sonic art is, for many, a complete turn-off. It can feel exclusive, challenging, and even threatening. Yet in some surprising places, creative noise-making is capturing the imagination.

In Glasgow, audio innovators from a variety of backgrounds are collecting sounds around them, then shaping their recordings into playful, bizarre and beautiful compositions.

What attracts these new noise-makers? How does their work smash sonic stereotypes? And, who’s listening?

Radio producer and Radiophrenia public engagement co-ordinator, Steve Urquhart spends time with emerging sound recordists – including unaccompanied young asylum seekers exploring their new audio environments, and people with disabilities crafting original work for an experimental art radio station.

“To go into the sound landscapes, there’s depth and openness, and valleys…”

“Around Possilpark we found the really cool sounds in puddles, bottles, squeaky doors…”

“Can I make a joyous noise here? That’d be dead good!”

Featuring work created with:
Maryhill Integration Network
New Young Peers Scotland
Project Ability
Radiophrenia
Young People’s Futures, Possilpark

Produced and presented by Steve Urquhart
A Boom Shakalaka production for BBC Radio 4

BBC Radio 4 - Art of Now: Batter! Batter! Boom!

Legend of the Necessary Dreamer is an ambient novella, a multi-sensory essay, an excavation of the historic Palácio Pombal, a work of impatience and death. Maria Fusco reads the whole book, acting as an ear and a mouth, creating embodied entanglements, paying close attention.

mariafusco.net

Maria Fusco - Legend Of The Necessary Dreamer

Commissioned by Radiophrenia & National Library Scotland (Sounds of Scotland)

Full doric mode is a voyage into a little heard sound archive of Doric speaking voices from 2006/7. This sound doc weaves together the archive material with contemporary reflections. The past and present intermingle through the medium of recorded conversation. The archive takes us into rural life in times gone by, farming, school days, home and working life, the contemporary conversations look back at the making of the archive and the power of oral history and folklore more generally as well as reflecting on the dialect itself and the situation today.

zoerirvine.net

Zoe Irvine - Full Doric Mode

Hexagon Heart is a sound poem/musical story of Marjorie Van Halteren’s emigration to France in 1992 and what has become of her heart.

Marjorie Van Halteren - HEXAGON HEART

The work I have devised is a 19 minute sound piece that explores the tensions often experienced through extensive use of social media, hand held devices and digital dissemination of information.
I used screen captures of my online journeys while researching this composition as moving images to create scores from. The sonic narrative of these works echo the jarring imagery that was produced as a result of my low concentration span and complicity within the distractions of the web.

Inspiration for the sounds featured within the composition include: monitor refresh rates, loading and buffering rates, the speed at which information is sent and received, malfunctions, scrolling rates, 140 character limitations and push notifications. I reimagined these elements sonically to form the tonal palette of the piece.

Alicia Mathews - Click Bait

“Strange things stumble through the mirrors, they pulled a clock out of the river – it was oblivious. I loved those sisters; my shirt is stained with tears. At the factory, the Witches run the lathes. Ex-detectives loiter, not knowing who they are. Lacking time travel mechanisms, they attend funerals and take notes. No one notices. They are invisible. The characters converge upon a point in space.
The house.
Where it all started.
The birth of it.
The birth of them.
The beginning.”

VILE PLUMAGE - THE AMNESIAC EXPERIENCES THE VORTEX AS IF SHE WERE AN EEL [V02]

Line Clean 9-6 was a co-commission between Radiophrenia and Resonance Extra as part of Strands, supported by Jerwood Charitable Foundation.

Line Clean 9 – 6 is composed around a series of abstract, rhythmic recordings made on shift at work (in the cellar of a pub), household objects (bins, bikes and cookers) and snippets of found sound recorded on a phone. Using a process of layering and splicing plus augmenting with ‘traditional’ instruments, he aims to draw out the beauty and musicality in everyday sound exploiting the harmonic and structural qualities inherent in everything we hear. The resulting collage combines, water pumps, beer kegs, bin lids, sound checks, bouzouki, clarinet, MS20, cowbells, choral polyphony, pipes and whistles.

www.oliverpitt.co.uk

Oliver Pitt - Line Clean 9 - 6

If I were to tell you how I arrived here, I would have to explain the voicemails. The voicemails have been in the back of my mind for some time. They had accumulated over several years, in fits and starts. A waxing and waning of words spoken into the void. For months, I watched them arrive but I did not listen to them. When I eventually did hear the messages, certain things were immediately clear. The condition of his lungs was deteriorating. His breathing was laboured. The messages had never been easy to follow. They were often slurred, because of the drink. But now when he spoke his words were interrupted by coughing fits, more and more so as time went on. By groans and gasps. Belly-speech. Gurgles of outflow.

In The Absent Body, Drew Leder writes that the healthy body is ‘transparent’. In illness, the body loses its transparency by ‘dys-appearing’. In a state of dysfunction, it appears. When I read this, something about the idea of the loss of transparency seems familiar to me. The pregnant body is not transparent, but it’s not dysfunctional either. In fact, the cis female body is perpetually troubling this idea of transparency in health. I am not the first person to point out that the question of the body’s transparency is not as simple as it seems.

Breathless is a co-commission between Radiophrenia and Kunstradio Radiokunst for Ö1, Austria.

I try to listen to the groans and gasps between the words as sounds in all their electronically-mediated materiality, perhaps I am being evasive. I am finding it hard to breathe as I listen: the body impinges, despite myself. And they call this ‘reduced’ listening. The absent body, on the other side of the voicemails, of the radio. For something so absent, it weighs heavily. Dissipated, dys-appearing.

Hannah Ellul - Breathless

A radioplay by the X-Static Tics (Henk Bakker and Lukas Simonis)

The story is set in the year 2222. Dead Henk, a living corpse brought to life from a previous century (he died in 2121) is forced to be interviewed about his attempt to stabilize the world by introducing people to art. Was it due to his efforts that there are no more wars in 2222, that everyone has made peace? There are no more conflicts. Weapon manufacturers only make space ships. part of humanity is migrating to other solar systems although that is not really necessary; the earth is clean, pollution has been banned. The curiosity about dead Henk is great because with the disappearance of traumatic and conflict situations all forms of art are wiped out. Only the music has survived this genocide on the uncomfortable; after all, you must have something to listen to.

A live version of ‘the day of the great tit’ will be performed as part of an outside broadcast at Platform at 3pm on Saturday, 18th May.

The Xstatic Tics - Day Of The Great Tit

Hermits wear boxes of Kleenex on their feet instead of shoes and keep plastic trolls in the sofa, birds bring them bread, they count their days with potatoes, they live inside their own grave, naked and hairy or wear woven coats of camel hair.

Glass Enclosed is a co-commission between Radiophrenia and Kunstradio Radiokunst for Ö1, Austria.

Glass Enclosed is an epic, solitary incantation performed by one voice. Its points of departure are the ‘Ancrene Wisse’ and ‘Speculum Inclusorum’ – instructional texts on how to be alone written for recluses, anchorites and hermits in the 13th/15th centuries. Glass Enclosed combines myth, testimonial and trope into a placeless, cocophanous soliloquy spoken from beyond.

Kari Robertson - Glass Enclosed

Radiophrenia is a temporary art radio station – an exploration into current trends in sound and transmission arts. Broadcasting live from Glasgow’s Centre for Contemporary Arts, the station aims to promote radio as an art form, encouraging challenging and radical new approaches to the medium. The broadcast schedule will include live shows, pre-recorded features and a series of ‘live-to-air’performances. The majority of the programme will be made up from selections submitted to an international open call for sound and radio works.

Broadcasting across Glasgow on 87.9fm, and online at www.radiophrenia.scot 

Supported by Creative Scotland.

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