Radiation Day goes to Quito


Open pit copper mining in northern Chile, photo Rodrigo Ríos Zunino

This week, I’m traveling to Quito, Ecuador to perform at the XIV Festival Ecuatoriano de Música Contemporánea.

I’ll  be performing Radiation Day on September 14, 2018, at the Teatro Variedades “Ernesto Albán”, and giving a workshop entitled “Embodied Listening” at the Academia Ecuatoriana de la lengua (AEL) Calle Cuenca N4-77 y Chile (Plazoleta de la Merced) Quito on September 13 (11-13h, 14-16h).

More info here.

Radiation Day is the first of a series of works generated from fieldwork in the northern Chilean deserts, created with collaboration from Rodrigo Ríos Zunino.

More about our fieldwork and Radiation Day in a special feature on Earlid.

Funding for my participation in the XIV Festival Ecuatoriano de Música Contemporánea provided by the Arts Research Institute of the University of California, Santa Cruz.



The Joy Channel, now available on IO Sound


Finally Emmanuel Madan and I are launching The Joy Channel, our foray into the radio of the future which we have worked on over the years (2007-2017) through several iterations, this being the third and final. This radio art piece was supposed to be about the future a century from now, but at some moments I feel like the present has caught up rather quickly to where we imagined we might end up… or rather, the ‘business as usual’ which results in a transformed New North America seems to be rather imminently taking place. But no matter—the theme is still ultimately one of optimism, as we consider the prospect of tele-empathy versus corporate emo-casting.

To listen or purchase your own digital copy of The Joy Channel, head on over to IO SOUND.  The Joy Channel will be the first on IO SOUND’s transmission arts sub-label. They are a Vancouver-based label who have some terrific releases in the world of experimental sound and now transmission arts, so do take a moment to peruse their catalogue while you’re there.

Here’s what The Joy Channel is all about:

Over a century from now, business as usual has rendered the nation states of Canada, the United States and Mexico extinct. Approximately 40 million people remain in New North America who are mainly concentrated on the west and east coasts in city-states such as Van and Turnpike, or in the walled-in corporate state strongholds of Fortress Alaska and the Protectorate of Utah. Inland, sparse but emergent communities persist.

In this future, the radio ecology still includes community radio, CB and ham radio as technologies which have survived the social and environmental cataclysms by being relatively easy to salvage, fix, and modify, and therefore remain useful to improvised new societies that tend towards local systems, nomadism and scavenging. But radio in the future is not only a sonic medium: it also becomes a means of transmitting neural information in the form of standardized human emotions (corporate ’emo-casting’), or for tele-empathic communion without devices practiced by dispersed nomadic communities.

We tune across the territories of the future radio to learn of the transforming geopolitics and the emerging EM (empathy modulation) band, from the transmissions of a lone ham radio operator or ‘wavefinder’ to the ongoing conversations of a group of hams radioing across the continent, to corporate shills, pundits, religious figures, the seductive sounds of emocast channels, and among them, something new being felt across the spectrum.

This speculative radio art piece explores tensions between the neurological manipulation of emotions and empathic realization, the interaction between the listeners as active or passive subjects, and the renewed struggle over access to the airwaves.

The Joy Channel was originally commissioned by Radio Tesla, Berlin for RadioVisionen: 250 Jahre Radio in 2007. This release is a completely new version of the work with a new script, characters, and scenario, and was chosen as a finalist for the Phonurgia Nova Awards in the category of Sound and Radiophonic Art in 2017.

credits

released September 4, 2018

Produced: /Undefine, Montréal
Recorded : PRIM, Montréal
Mastered: Stéphane Claude, Oboro, Montréal
Design: Jesse Purcell + Fairypunk + s*

Production Assistance:

Canada Council for the Arts
ORF Kunstradio (Vienna)
Wave Farm, Acra NY
Künstlerhaus Bethanien (Berlin)
PRIM (Montréal)
Oboro (Montréal)

Voices: Sarita Ahooja, Leslie Baker, Alexis Bhagat, Matt Bua, Brian Dewan, Lorrie Edmonds, Danielle Frank, Anna Friz, Gina Grotelueschen, Justin Grotelueschen, Darsha Hannah Hewitt, Ricardo Lira, Emmanuel Madan, Randy Peters, Tom Roe, Victoria Stanton, Vince Tinguely, Rufo Valencia

Special thanks to Galen Joseph-Hunter and Tom Roe (Wave Farm), Stéphane Claude and Claudine Hubert (Oboro), Steve Bates (Hexagram), and tobias c. van Veen (IO SOUND).

Thanks to all those involved with earlier incarnations of this work, especially Martina Groß, Andreas Hagelüken, Séamus O’Donell, Moritz von Rappard and Johannes Wilms (Radio Tesla, 2007) and Elisabeth Zimmermann (ORF Kunstradio, 2009).



80/30 on Kunstradio for Heidi Grundmann


“80/30. An on air – on line – on site homage for Heidi Grundmann

On air:
Radiokunst – Kunstradio special from 10pm CET, Radio Helsinki Graz,
USMAradio San Marino and deferred on CITR FM Vancouver.

On line:
esc.mur.at, kunstradio.at, oe1.orf.at, usmaradio.org


Ö1 LIVE PLAYER

On site:
Radiocafé at ORF Funkhaus, ESC medien kunst labor Graz, Usmaradio San Marino and Western Front Vancouver

Relating to radio art projects of the early 1990s, the project “80/30“ takes places on various sites: at Radiocafé in Vienna, at the ESC medien kunst labor in Graz, at the artist-run-center The Western Front in Vancouver, Canada and at USMAradio in San Marino. And of course on air, with a 2-hour-live-broadcast of Kunstradio in the Ö1 Kunstsonntag.

Participating artists are Deanne Achong, Hank Bull, Peter Courtemanche, Roberto Paci Dalo, Elisa Ferrari, Anna Friz, Paul Gründorfer, Horst Hörtner, Reni Hofmüller, Rupert Huber, Josef Klammer und Seppo Gründler, Runar Magnusson, Norbert Math, Clara Oppel, Bruno Pisek, Igor Santizo, Elisabeth Schimana , Sarah Shamash, Andrea Sodomka, Anna Steiden, Gerfried Stocker, Russell Wallace, Lise Vinberg, Stefan Voglsinger, Thomas Wagensommerer, Ludwig Zeininger, and others.



Live Performance at Indexical


Curated by the essential Indexical, I’m performing live this Saturday February 3, 2018  8 pm  

Radius Gallery, 1050 River Street #127, Santa Cruz, California

I’m sharing the stage with Eoin Callery, who will be doing an installed performance with strings (as in the strings themselves) and an electric guitar using automated filters to create an evolving scape from sonic textures and drones.

My live solo set is themed around the idea of beacons:

An audible radio signal picked out of an ocean of static serves as a beacon, a lighthouse, a weather station, a warning: here be rocks, here be shallows, here be treacherous tides. A signal anyone might hear, but also imagined by and especially made for the listener who finds it. A performance considering the radio beacon, using radiophonic instruments and transmitters, cottage-built electronics, and recordings/photo montage from recent fieldwork in Iceland and Chile.

I’m particularly interested in ubiquitous but perhaps minor audible beacons, such as dog barks and terrestrial morse code flyover signals. And the idea of an opaque environment, that is to say, the visual and audible static from which such beacons emerge.

 



Radiation Day at Ars Electronica


Performing Radiation Day at Ars Electronica, Big Concert Night 08.10.2017

I had a world premiere of new work at the Big Concert Night of Ars Electronica Festival at PostCity in Linz Austria this past weekend on 10 September 2017. Radiation Day was created during my research residency in Chile this summer, in collaboration with artist Rodrigo Ríos Zunino. This is the first of what will be a series of audio/visual works for performance and installation. Many thanks to Canada Council for the Arts for supporting the work, and for the Arts Research Institute of the University of California Santa Cruz for flying me over to perform!
The live concert was curated by Elisabeth Zimmermann for the 30th Anniversary of ORF Kunstradio, and broadcast live to national public radio Ö1 in Austria the same evening as part of a special program entitled Different Places.
Radiation Day

This is the metamorphosis of Earth being: in the desert, around open-cast mines loom massively heaped and compacted slagheaps; evaporation ponds spread across the salt flats, and pipelines and power lines run alongside roads punctuated by truck transports and blowing dust. Copper, lithium, rare earths; mining the ingredients for wireless communication devices. Ancient geoglyphic inscriptions on the desert are dwarfed by deep industrial scars visible from satellites. But environments are also media, and bodies are recording devices. For days under the sun at high altitudes in northern Chile, we sought elemental media amidst the industrial continuum. A performance devised of infrastructural sounds, atmospheric signals and live electronics.

Video by Rodrigo Rios Zunino (CL/EC)


XRRB: Radio Tsonami edition


This week, tune in to Radio Tsonami for three live radio mixes of audible materials gathered on a recent trip to the altiplano and salt flats of northern Chile. XRRB returns July 12, 14, and 16, at 21:30-23:00 GMT -4; live from CASAPLAN‘s artist residency space, where I’m staying here in Valparaíso, Chile. Tune in here.

XRRB
Nocturnal outpost, distance monitoring, and experimental radio beacon. Night time respirations after days spent staring into the sun. Featuring journeys over the Flatlands of Patience and through the Ruins of the Future. Live radio by Anna Friz with special guest Rodrigo Ríos Zunino for Radio Tsonami.

Anna is supported by the Canada Council for the Arts and University of California, Santa Cruz.



My Sounds Travel Without Me: June 2017 edition


While working away at home and in studio, I’ve sent my sounds on the road with these recent and current presentations abroad:

The Envelope of the Hour originally commissioned for Radio Revolten International Radio Art Festival in Halle/Saale Germany in October 2016 was re-mounted for Il suono in mostra sound art festival, curated by the Spazzioersetti Gallery in Udine, Italy, June 3-11, 2017. The work was adapted to 7 channels and installed in the old Clock Tower in Piazza Libertà in Udine.

The Joy Channel (created with Emmanuel Madan) was presented on Radio RE:FLUX on CKUM Moncton, as part of RE:FLUX 12 Festival, Moncton New Brunswick, June 1-4, 2017.

Radiotelegraph will be presented on June 20, 2017 in the Theatr Studio in Plac Defilad, Warsaw, Poland as part of the Do usłyszenia na Placu Defilad – festiwal słuchowisk, vol. 2, or To hear at Defilad Square – festival of listeners, vol. 2. 



FJARÐARHEIÐI at Tsonami Festival de Arte Sonoro


We are super pleased to be back in Valparaíso, Chile, for the Xth edition of Tsonami Festival de Arte Sonoro. Konrad Korabiewski and I are performing FJARÐARHEIÐI, our multi-channel audio-visual piece concerning the expressiveness of low-visibility and low-fidelity landscapes. The piece is conceived in East Iceland as a project of Skálar | Sound Art | Experimental Music.  

Concerts take place on Thursday December 8, 2016 in the Teatro Parque Cultural de Valparaíso, and on Wednesday December 14, 2016 at the Centre Cultural de España.



Wave Farm Radio


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I’m enjoying a few days at Wave Farm here Acra, New York. A bit of meeting, and a bit of mini-residency to work on some overdue sound making! The best part about Wave Farm is: no matter the plan you arrive with, farm art will somehow take over. The site is very specific. Last night (May 17, 2016 midnight to 1:00) I did a live show for Wave Farm radio and WGXC (90.7FM in Greene and Columbia counties), considering the nature of distance, listening in the dark, metamorphosis and drones of all kinds. Above is the Wave Farm Study Center and artist residency (also home to the Acra studio of WGXC) and below yours truly getting ready for the night.

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The Cold Road


FJARÐARHEIÐI is new multi-channel audiovisual performance by Konrad Korabiewski and me, which we premiered last autumn at the Festival de nouveau cinéma in Montréal. Here’s a little trailer/excerpt, featuring images from one of the two channels of photomontage which I created to accompany our live music.

Anna Friz | Konrad Korabiewski | FJARÐARHEIÐI | Festival Nouveau Cinéma Montréal | live | excerpt from Konrad Korabiewski on Vimeo.http://korabiewski.com

Here’s what the performance is all about:

Using field recordings, cottage-built electronics, analogue tape and feedback systems, Friz and Korabiewski perform live, accompanied by Friz’ monochrome two-channel photo-montage. Together, they craft pensive audiovisual landscapes, strongly influenced by the extreme oscillation between daylight and darkness characteristic of life over a year on the mountainous coast just below the Arctic Circle. Fjarðarheiði is taken from the name of the 25 km mountain pass which connects the village of Seyðisfjörður to the nearest town of Egilsstaðir in eastern Iceland. On this sometimes treacherous road, the visual and acoustic environments are transformed by dense fog and snow storms, effecting a perceptual flux between white-out and black-out which leaves only an aftergrain. If afterglow refers to the light or luminescence left in the sky after sundown, aftergrain is the sonic and visual noise that remains when most other frequencies are subtracted.

Support for the development of the project comes from Canada Council for the Arts (Friz); the Danish Composer’s Society and the Danish Arts Foundation (Korabiewski). Developed as a Skálar production.