February 7th, 2014
A train and a ferry ride away from Berlin, and I find myself in Copenhagen, Danmark this week for a series of events, thanks to the enthusiastic curatorial efforts of Jan Høgh Stricker and Anne Clement and KNTN.
Tonight (7. February, 2014) I’m performing together with Konrad Korabiewski (that’s us in action above) at the noise bunker known as Mayhem, Ragnhildgade 1 Kbh NV. Doors at 20:00, opening acts Hannibal Andersen and David Maranha, though we will be performing second. We’ll be using a multi-channel speaker and radio set up, with various low-fi electronics, cottage-built instruments, and mutually intertwined feedback systems. As analogue as possible.
Sunday 9. February 2014, 12:00-16:00, Konrad and I will give a workshop, whose title is inspired by the ever-erudite Gregory Whitehead: An Intricate Game of Position: Critical artistic and phenomenological approaches to sound and radio. This workshop discusses key paradigms such spatiality and resonance, active listening, transception, and transmission ecology, and includes a listening session and demonstration of basic transmission principles using micro-radio. Participants will also undertake guided activities and improvisational exercises such as soundwalking, and work together to create ‘instant’ performative radio pieces. Taking place at the YNKB and Astrid Noack’s Atelier here in ydre Nørrebro, Copenhagen.
Earlier in the week, I curated this month’s episode of Københavns Radiobiograf at the Gloria Bio on Tuesday 4. February (where an audience gathers to listen to radio pieces in a darkened cinema). In addition to some old and new pieces of my own (Respire, Pirate Jenny, and Radiotelegraph) I had the pleasure of sharing some of my favourite pieces by others, like Miranda July‘s WSNO, About Time by Yves Daoust, and an excerpt from a.j. cornell‘s Private Telephone 1981. Check them out yourself, and wear some headphones while you listen!
Also gave a lecture on Thursday 6. February at the Hovedbibliothek or main library here in Copenhagen, on the topic of “The Unstable Art of Radio“, which was a brief introduction to creative uses and manipulations of radio and electro-magnetic waves, particularly looking at working with transmitters, manipulating receivers, and some aeriology. Really nice audience, and a great opportunity for me to dig up old crystal set schematics and evidence of DIY tinkering… even as proposed by Quaker Oats:
February 5th, 2014
Currently getting around the independent radio networks of Europe and beyond: extensive broadcasting in Ljubljana, Slovenia with radioCONA and Radio Študent in January, then some spontaneous radio making with p-node at Club Transmediale, Berlin (featuring some lovely collaborations with Jeff Kolar of Radius, Ann Rosen and Sten-Olof Hellström of Schhh, and as Ghost Imbiss with Jeff Kolar and Emilie Mouchous). Special Radius playlists including my episode 44 Radiotelegraph graced the p-node last week, and will be broadcast overnight on February 7, 2014, on the Endless Tape program of EPSILONIA Radio Libertaire, 89.4FM in Paris, France.
January 28th, 2014
∏-node is an experimental platform for hybrid Web/FM radiophonic composition. As a multi-dimensional radio infrastructure platform, ∏-node explores the narrative, participative, and imaginary possibilities of radio through the use of both historic and new, digital technologies.
CTM Festival is an international festival dedicated to contemporary electronic, digital and experimental music, as well as the diverse range of artistic activities in the context of sound and club cultures here in Berlin. Since 1999 it takes place concurrently and cooperatively with transmediale – international festival for art and digital culture, Berlin.
p-node radio stream
January 29, 2014
12:00 AM – 2:00 AM GMT +1
Where is Jesus Temporary Space
Wrangelstrasse 57, 10997
Kreuzberg, Berlin, Germany
January 27th, 2014
This week (27.01.2014 – 02.02.2014) our second NRRF B Radio episode Voyage to the Forbidden Planet rebroadcasts on the international independent radio network Radia, devoted to new and forgotten ways of making radio.
Radia is a network of 25 independent, non-commercial stations operating in Europe and beyond:
Campus Paris (Paris, FR) CFRC 101.9 FM (Kingston, CA) CKUT (Montréal, CA) Curious Broadcast (Dublin, IR) JET FM (Nantes, FR) Kanal 103 (Skopje, MK) Orange 94.0 (Vienna, AT) Radio Campus (Brussels, BE) Radio Corax (Halle, DE) Radio Grenouille (Marseille, FR) Radio Helsinki (Graz, AT) Radio Nova (Oslo, NO) Radio One 91 FM (Dunedin, NZ) Radio Panik (Brussels, BE) Radio Papesse (Firenze, IT) Radio Student (Ljubljana, SI) radio x (Frankfurt/Main, DE) Rádio Zero (Lisboa, PT) RadioWORM (Rotterdam, NL) Reboot.fm (Berlin, DE) Resonance104.4fm (London, UK) Soundart Radio (Dartington, UK) TEA FM (Zaragoza, ES) Wave Farm WGXC 90.7-FM (New York, USA) XL Air (Brussels, BE).
January 16th, 2014
Tonight is the opening of my new installation and performance entitled White Night, created within the frame of my City at Night theme during a 2-month residency with KC Tobačna 001 and radioCONA here in Ljubljana, Slovenia.
* Opening at 19:00 at KC Tobačna 001 gallery, Tobačna ulica 1, Ljubljana
* RadioCONA broadcast on 88.8FM begins at 19:16
* Performance in the gallery at 20:00-ish
Later on, Brane Zorman and I do a live set for 2 FM frequencies, using the radioCONA temporary frequency (88.8FM) and the airwaves of Radio Študent (89.3FM) here in Ljubljana. For those of you listening locally, make sure to have 2 radios on at home, one for each station, to hear the full effect!
Here’s a little description of White Night
Radiophonic installation and performance
Since the advent of artificial illumination, the nocturnal urban space is increasingly described by its lighting. The shape and contour of the built environment is outlined by streetlighting, highlighted by mobile car and transport lights, and by lights left blazing in the windows of office towers and store fronts, or recreating daylight over subdivisions, parking lots and sports fields. The stars recede and the sky grows blank from the strength of light pollution, a process accentuated by the typical fog in Ljubljana in winter: no sun, no stars, only diffuse light in a white sky drawn close to the ground.
The ubiquitous infrastructure of the electrical grid powers most nocturnal activity, and its surplus is ticks, static, and hums transmitted by many nodes: buildings, devices, lights, and lines; by damp electrical wires, power stations, connection boxes, irate refrigerators, and ungrounded home entertainment systems alike. Electrical and spectral communication grids overlap and exceed the official city limits, and in these electro-magnetic fields invisible creatures sing on a pale night made indistinct by fog.
Created while in residence at Tobačna 001 and with radioCONA; travel funding gratefully received from the Canada Council for the Arts, Media Art division.
Thank you to Irena Pivka and Vlado G. Repnik.
December 7th, 2013
I have a new radio art/work premiering this weekend: Collecting Clocks and Losing Time, made in 5.1 and stereo (2012-2013), 44:00. It premieres on Sunday, 8. December, 2013, at 23:03 CET or GMT +1, on ORF Kunstradio, Vienna, Austria. If you’re in Austria, tune in live to Ö1 on the radio to hear it in 5.1 or stereo, or stream from their website. You can also listen to the archived (but lower-quality) mp3 stream on Kunstradio any time after.
Developed as part of a suite of iterations about radio and timekeeping (includes the broadcast and performance work For the time being (2010), the compositions Measure the time taken (2012), and the installations 5 Times (less a hundred) (2012), and Studio Time (2013).
The first version of Collecting Clocks and Losing Time premiered at the Tsonami Festival de Arte Sonoro in Valparaiso, Chile, on November 26, 2012, and was then performed in 8 channels at the Deep Wireless Festival of Radio and Transmission Art in Toronto, May 2013. The present 5.1 version of the piece, which premieres on ORF Kunstradio, is the final version of this cycle.
Here’s the description, which, though cryptic, is really what it’s all about:
An aural expedition across zones of hard and soft time, to where cuckoos nest and errant robotniks bungle the machinery of atomic time.
Once upon a time there was a house in the countryside which housed a hundred clocks. Once upon a time the clocks in every home ran on their own time, and all the trains and hotels and shops counted their own time. One day time was made universal, divided into zones, and propagated around the globe. One day microwaves were fired at a cesium-12 isotope, and the rate of electron loss dictated the most standard time of all. Still there were digital devices that did not understand which time zone they lived in. Still the clocks slowed, dragging the seconds and minutes and hours behind them. Still everyone was late.
My father collected cuckoo clocks, which I inherited when he died. He left 5 clocks behind. Once upon a time there were 26. I have come to learn that there are much larger clock collections than this. I have also learned that coordinated universal time is a legend told among the cuckoos in the clock forest on a rainy night.
Recorded in Vancouver and Chicago.
Mixed in 5.1 at Ö1 studios, Vienna, Austria. Martin Leitner, teknik.
December 1st, 2013
One night train from Berlin to Slovenia later… I’ve arrived in Ljubljana, and moved into to the artist residence at Tobačna 001, a cosy little apartment upstairs in the cultural centre run by the City Museum of Ljubljana on the sprawling grounds of an old tobacco factory. I’ll be here for two months, and working together with the artist-run group CONA (CONA Institute for Contemporary Arts Processing) to make “temporary radio for contemporary art”. A central project for CONA in 2013-2014 is REuse MESTO: REuse RADIO, and my contribution is to explore the potential in nighttime transmissions across urban space, under the title of City at Night:
With the advent of urban illumination and electricity, the city at night is a place of potential: filled with pleasure and danger, subversion, reclamation, and escape. The city at night is described by its transformation from the quotidian arena of day into sites of shadow and ambiguity, where some acts are hidden, while others take place under the scrutiny of precisely circumscribed light. The nocturnal world of radio is a similarly charged space of potential and possibility. Electro-magnetic activity is also the invisible print of the city, with overlapping fields of activity passing through the built environment. Signals converge and the city is imagined and made.
Many people remember tuning in to radio to hear a free-form overnight program, where the DJ had full choice on what to play, and was released from the strictures of programmed songs and advertisements after hours. Making radio for those not represented by the daily routine, but for those up late, working late, unusually awake–the invisible interaction between terrestrial, live broadcast and the city mostly asleep. Now most radio stations rely on automation over night, rebroadcasting music and talk radio imbued with the mood of day time, not the changeable atmospheres of night. But like the brick and concrete city which is transformed by different practices between day and night, nighttime radio is another kind of urban space to be reclaimed, rethought. What ambiguous relationships, what liminal territories, what reverie might be encountered and engaged after dark?
City at Night seeks to rethink and reframe urban spaces through its nocturnal signals, through incursions across the city after dark, from social spaces to empty places, resulting in live night radio performance, compositions, interventions and an ongoing installation. The gallery space associated with the Tobačna 001 residency will be turned into an open studio with an evolving radio installation, a hub which will function as a radio ‘station’ from which to broadcast and stream overnight from January 16-26 when a licensed city-wide FM frequency is available for use as radioCONA, and a space in which to hold performance or performance/lectures related to the topic of reusing and repurposing nighttime radio and the city.
All broadcasting will take place after dark and overnight, and I am particularly looking forward to programming some long-form and generative works for broadcast which can reflect the liminality of listening, night, and urban activity.
Most immediately, I will be holding a public lecture here next week, December 9, 2013, on the topic of REuse RADIO– an overview of radio and transmission art, my own artistic practices in the electro-magnetic spectrum, and some listening to works. December 10-11, 2013 I convene a working group of local artists emerging and established, so that we can embark on the process of creating transmission works to air or perform or present in January during the broadcast week of radioCONA.
My travel to Ljubljana is made possible by the Canada Council for the Arts, Media Arts division.
October 11th, 2013
A live radio art performance by Anna Friz (CA) with special guest Konrad Korabiewski (PL/DK/IS). Anna has been transmitting the radio art beacon Radiotelegraph from 7.-11. October at sundown, simulcast on low-watt FM radio to Seyðisfjörður, east Iceland, and to the experimental radio platform Radius in Chicago. The beacon signals the descent of the sun into the northern night, using spoken morse code, electronics, and shortwave signals. Night Fall expands from the sonic palate of the beacon in an improvised live show for unlicensed transmission, and invites the audience to contemplate the acoustic and electro-magnetic landscape of Seyðisfjörður at dusk.
Tune in to 107.1FM from 17:41 for approximately one hour (or until dark) local time.
Broadcasting from the residency space on the top floor of Skaftfell Center for Visual Art, so listeners are also welcome to drop in to the open radio studio.
October 3rd, 2013
For the month of October, I have a new piece up created especially for Radius. I’m halfway through my two month residency at the Skaftfell Center for Visual Art in the small town of Seyðisfjörður on the east coast of Iceland, and the piece involves radiotelegraphy in spoken morse code. Seyðisfjörður is located in a deep fjord off the Atlantic Ocean just shy of the Arctic Circle, and was the site of the first telegraph cable connection between Iceland and Europe in 1906. 1906 was also the year of the first audio transmission of the human voice by wireless means undertaken by Reginald Fessenden on the other side of the Atlantic Ocean at Brant Rock, Massachusetts.
Radiotelegraph is a beacon simulcast by a private low-watt transmitter in Seyðisfjörður (on 107.1 FM) and by Radius Chicago (88.9 FM) at sundown Seyðisfjörður time, for a period of five days in October. The beacon signals the descent of the sun into the northern night. Voice, electronics, and radio signals, all recorded and mixed at Hóll, Seyðisfjörður.
Seyðisfjörður broadcasts (GMT 0):
October 7: 17:59; October 8: 17:56; October 9: 17:52; October 10: 17:48; October 11: 17:45
Chicago broadcasts (GMT -5):
October 7: 12:59; October 8: 12:56; October 9: 12:52; October 10: 12:48; October 11: 12:45
Radius is an experimental radio broadcast platform based in Chicago Illinois.