Dawn Chorus on Easter Sunday - Ammerland, Bavaria

Dawn Chorus on Easter Sunday

Overture

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Concerto for Violin Solo and Orchestra

Recording performed by ORF Wien Modern, Carolin Widmann and Sylvain Camberling

First performed at Darmstadt Summer Course 14. August 2016, Radial System Berlin and Weimar Festspiel by Carolin Widmann, Sylvain Cambreling, Junge Deutsche Philharmonie and dancers from Sasha Waltz and Guests. 
Choreography by Antonio Rúz.

https://issuu.com/editionpeters/docs/ep_12015r__rebecca_saunders__still_

Still (2011)

🗨  Ce deuxième volet explorera un lieu central de l’espace public : l’espace médiatique, qu’il revête la forme institutionnelle de la presse, de la télévision et des grandes radios, ou un aspect plus immatériel, bien qu’occupant une place grandissante dans nos quotidiens : les médias web et les réseaux sociaux.

► https://www.carreaudutemple.eu/presentes-avec-lauren-bastide-ndeg2

Présent·e·s avec Lauren Bastide, invitée : Rokhaya Diallo

Il n’existe pas de société sans jurons. Toute langue a ses insultes, certaines varient, certaines se maintiennent, certaines font plutôt rire, certaines font très mal. Qu’est-ce qui fait la force d’une insulte – la cible, le contexte, les sonorités ? Pourquoi dire « Sale Arabe » et « Sale Suédois », ce n’est pas la même chose ? Qu’est-ce qui explique la permanence du mot « pute » en français ? Pourquoi avons-nous tant besoin des insultes ? En quoi font-elles partie de notre culture ?


Laélia Véron répond à ses questions avec Maria Candea, conseillère scientifique de ce podcast et socio-linguiste à l’université de Paris 3 et, par téléphone, Dominique Lagorgette, professeure en sciences du langage à l’université de Savoie, spécialiste en diachronie, l’étude de l’évolution chronologique de la langue.


Note : Cet épisode a été enregistré en période de confinement, ce qui explique la différence de qualité sonore par rapport aux épisodes précédents.


RECOMMANDATIONS D’INSULTES

LA RECO DE MARIA : évitez d’utiliser « pute », préférez « sous-merde »

LA RECO DE LAELIA : écoutez l’épisode « Pourquoi je peux dire pédé et pas toi » du podcast Camille produit par Binge Audio


RÉFÉRENCES CITÉES DANS L’ÉMISSION

Retrouvez tous les articles cités sur binge.audio.


CRÉDITS 

Parler comme jamais est un podcast de Binge Audio animé par Laélia Véron, avec la collaboration scientifique de Maria Candea, enseignante-chercheuse à l’université de Paris 3 et en soutien avec la Délégation générale à la langue française et aux langues de France. Cet épisode a été enregistré en avril 2020 dans le respect du confinement depuis Orléans et Paris. Réalisation : Quentin Bresson. Générique : Thomas Oger. Production et édition : Diane Jean. Identité graphique : Sébastien Brothier (Upian). Direction des programmes : Joël Ronez. Direction de la rédaction : David Carzon. Direction générale : Gabrielle Boeri-Charles.

Mange tes mo(r)ts ! À quoi servent les insultes ?

2 Eggs, 100gr flour, a load of sugar and some chopped cherries. Bake for infinity and serve with a canny dolphin.

IAN Needs An Array

Paracusia Media proudly presents the next point on our inter-dimensional sonic adventure, For Everything That Rises Must Converge by Nuanæ! A deeply captivating listening experience full of alien beat structures, lush electronics and precision edits all wrapped in a nice spatial package designed to deliver maximum psychedelic immersion.

[FERMC] is a synthesis rich, technical and complexly structured aural exploration that really displays Nuanæ's technical prowess and willingness to dive into uncharted waters, all while maintaining a wide range of appeal and certain level of approachability! Even though it is very electronic in nature, [FERMC] displays a neo-classical aesthetic, delicate and full of life. It retains the best of both worlds, being both technologically impressive and at times carrying heavy emotional weight. A true forward thinking sonic experience, diving deep into experimental electronics but with a splash of humanity thrown in to keep it familiar and relative. 

ID: Sentient Intelligence Series 5 (PARA-SIS5) 
Artist: Nuanæ
Title: For Everything That Rises Must Converge 
Label: Paracusia Media 
Genre: IDM/Braindance/Sound Design
Date: 11.15.2020 
Length: 29:35
Available in 24bit/48Khz.

Written and Produced by Nuanæ 
Mastering by Rodrigo Passannanti 
Original Nuanæ Logo by Daniel Glaser 
Graphic Design and Logo edit by Vaeprism

04 - For Everything That Rises Must Converge

Mikro - Raving Morning

Manja Ristić: Sonic Ontology of Negligence
7 Nov 2021–8 Jan 2021
FM exhibition, exhibition of 8-channel sound installation

7 Nov 2020 at 12.00 (noon) on FM 88.8 MHz – in-situ FM walk (at Park Tivoli)
10 Nov 2020 at 18.00 p.m. on FM 88.8 MHz – in-situ FM walk (at Park Tivoli)
18 Nov 2020 at 20.00 p.m. on programme Ars – radio exhibition opening

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For more please point your cursor to:
http://www.steklenik.si/en/manja-ristic-sonic-ontology-of-negligence/
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Sonic Ontology of negligence is a continuous research evolving from listening to abandoned places and landscapes reshaped by extensive intervention of human presence and exploitation, and eventually “given over“ to Nature to reclaim the space. In the process of conceptualizing Sonic Ontology of negligence, Manja Ristić resided in places that were heavily exploited and forever changed by the human urge to build, comprising thousand years-old quarries as well as present-day mega-structures, abandoned as a result of corruption and consumerist socio-political turmoil. The nucleus of the compositional structure is devoted to abandoned construction building site of the Stožice mega-structure, while layers of mnemopoetic sonic imprints are derived from an old lime-stone quarries from the island of Korčula in South Dalmatia, such are Glogovac, Lenga, Defora and Vrnik, but also abandoned mineral mines and lime pits from Fruška gora in Vojvodina, North Serbia, and other sites such is the military compound placed in the middle of the Avala forest in the suburbs of Belgrade. The poetical accent is given to the dynamics and textures of waters and aquatic micro spaces, which are building the formative/reproductive environments in the process of re-establishing bio diversities.

Manja Ristić graduated from the Belgrade Academy of Music and later also completed her post-graduate diploma in Solo-Ensemble Recital at the Royal College of Music, London. Besides performing in the field of instrumental electroacoustic music, her sound-related research is focused on an interdisciplinary approach to sound art, field recordings and experimental radio art.

Credits:
Artist: Manja Ristić
Curated by: Irena Pivka, Brane Zorman
Organisation: Irena Pivka, Katarina Radaljac
Translation and editing: Katja Kosi, Melita Silič
Public relations: Katarina Radaljac
Production: Cona, Institute for Contemporary Arts Processing, 2020
Venue: Steklenik gallery for sound bioacoustics and art, FM 88.8MHz, 3rd programme of Radio Slovenia – programme Ars

Exhibition is being part of the Acoustic Commons project support from the European Union’s Creative Europe program.

Manja Ristić: Sonic Ontology of Negligence (stereo version of an 8 channel sound exhibition)

U petoj epizodi podcasta posvećenog improviziranoj glazbi okrenuli smo se klupskoj sceni i producentskom dvojcu tonota i varboska. Uz dvije glazbene izvedbe, s njima smo razgovarali o odnosu elektroničke glazbe i improvizacije, načinu na koji pristupaju zajedničkoj izvedbi i oblikovanju zvuka, prostoru slobode u klupskom kontekstu i drugim temama.

Podcast je snimio, zvučno obradio i pripremio Lujo Parežanin.

Podcast je dijelom projekta Kultura kritičkog slušanja podržanog od strane Ministarstva kulture.

Improvizacije: tonota i varboska

Innovative music machines designed and built in San Francisco, CA.

Overture

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