This weekend I’m taking part remotely in the Tactus Radio Festival, hosted by UsmaRadio in the Republic of San Marino. Giving a talk on Transmission Ecologies December 1, and joining a multi-nodal international sound improvisation on December 2.
As part of the festival, the generative radio piece Morse Mountain, created together with Absolute Value of Noise, will be transmitting on Radio LADA from December 1, 2023 and continuing for the next couple of months.
Continuum: December 2, 2023 19:00-20:00 CEST (GMT +2) A radio network created for/by telematic performance with artists on site and remotely, continuing and deepening experiments born in the 1990s. A telematic performance where some guests of the festival improvise together with artists remotely.
in San Marino: alien productions (Andrea Sodomka, Norbert Math), Gaia Ginevra Giorgi, L’Impero della Luce, NicoNote, Roberto Paci Dalò, Tobia Bandini, Vittoria Assembri
online: Anna Friz (Santa Cruz, CA) Bauhaus Radio Ensemble from Weimar, Germany(Tilman Böhnke, Fritzi Buhtz, Adrian Ciesielski, Lefteris Krysalis, Finn Röhmer-Litzmann, João Afonso Soares Leiria Parreira Ticão, Amir Shokati, Karlotta Sperling)
Tune In:Usmaradio.org and San Marino RTV (San Marino), bauhaus.fm (Germany), Wave Farm (USA), ARTxFM / WXOX 97.1 FM (USA), Fango Radio (Italy), NEU Radio (Italy), Beware The Radio (UK), Radio Raheem (Italy), Radio Tsonami (Chile), diffusionFM (Australia), Radio Bloc ORAL (Canada)
At the mouth of a river, salt meets sweet water. Tides fluctuate. The river floods and dries with the seasons. The muddy delta shifts position over centuries. At the tideline, life persists. It exists both in and out of the water. A sand spit rises once a day and disappears again. It’s a home for clams, oysters, other molluscs, anemones, sand dollars, shore birds and seals. A rock shelf full of tidal pools is filled with tiny fish, crabs, urchins, starfish, bivalves, and seaweed. Fish swim down the river to the sea and return to spawn. Plants and trees are engulfed or left high and dry. As a consequence of (over)use by modern cities and societies, extractive industries dominate a major river and its ecologies, then atrophy and decay, replaced by new modes of global commerce, tourism, and shipping. As ice packs diminish, the seas warm,. Water levels rise and rain patterns change. The spaces between high and low water become more and more exaggerated. The dynamics of change seesaw across the year, creating dangerous patterns in this time of climate crisis.
Water Line is a generative audio piece that imagines the space between the tides and between the salt and the muddy waters. Depending on the height of the tide, listeners are oriented below or above the surface, from deep sea to thousands of meters in the air. Combining field recordings (acoustic and electro-magnetic) with poetic composition, Water Line works with both documentary and imaginary riverspace, the creatures and organisms that live there, the human and the more-than-human. The dynamics range from the roar of engines and turbines to the very subtle sounds of clams, the scuttle and high pitched hisses of crabs, or the scattering of sand fleas. Environmental sounds meet electronic compositions to express the many perceptions of being above or below water. From the undersea kelp forests and high tide zones across the mud flats and swampy areas; from the industrialized river to nearby rocky coves; the artists incorporate field recordings mixed with imaginings and playful interpretations of the river to craft a composition that oscillates across the day, the month and the year.
The piece is centered on the muddy, shifting delta of the river that is called stal̕əw̓ by indigenous hən̓q̓əmin̓əm̓-speaking Musqueam people, or stó:lō by indigenous halq’eméylem speakers, Coast Salish peoples who still inhabit the river valley of what is also known as the Fraser, which winds through the greater metropolitan area of the city of Vancouver. The Fraser’s colonial legacy is one connected to extractivist enterprises such as fur trade, logging and pulp mills, mining, fishing and farming; eventually the suburbs of Vancouver encroached across the river delta displacing farms with houses, parking lots, and an international airport. But the river is still its own, a place that the salmon have defined ecologically in many ways, and currently stó:lō still has the largest salmon run of any river in Canada.
Water Line is not only a generative audio piece unfolding for 365 days with the help of generative software custom-created by Absolute Value of Noise, it is also a piece that accumulates sounds across the year, as the artists continue to record and compose, and as the electronic elements in the piece oscillate between foreground and background. The piece stages fictional confluences of stó:lō with distant rivers, as though a river could receive a transmission or dream of the life of other rivers like the Danube, a similarly long waterway traversing mountain and plain, spilling out into the sea. The compositional accumulation includes the flow of the Danube, canals of the Mur, in the constant stream of sounds upriver in an urban riverscape prone to flooding.
At the end of the year, the piece will become Estuary Almanac, a compilation of rivertimes, documented and imagined, with our ears attuned to the waterline. Though the river banks are built more and more concretely, though the waters hold ghosts of the past that the summer drought brings into view, these are vital rivers whose life spans have and will surely outlast empire.
The mountain sleeps; dreams stone. Festooned with power lines and communications towers, striated by long-ago meltwater and creeks that have since evaporated, blown bald by the prevailing winds. Some day, come earthrise or landfall, the mountain will walk out into the sea. Until then, micro-movements in the sediment and rock are its uneasy speech, while the antennae atop its massive breathing shoulders continue to call and respond.
The piece is inspired by coastal mountains that have been implicated in human long distance communications and listening, whether occupied by overland telephone and telegraph cables, military monitoring stations, radio and acoustic beacons for ships and airplanes, or 5G cell towers. Morse Mountain considers the ephemeral human occupations of signal space as they overlay mineral durations; fireflies buzzing around ancient beings that have merely paused to rest.
Solar Radio, which I worked on together with Absolute Value of Noise aka Peter Courtemanche has now been installed in the Wave Farm outdoor sculpture park as a permanent addition.
We created Solar Radio/Embodied RadioDevice as an album release in 2020, and this present permanent installation expands on both Peter’s Solar Radio design and the sonic world of the small artificial intelligence that Solar RadioWave Farm enables. Here’s what this version is all about:
Some years in the future, or perhaps in a surplus version of the present, a solar-powered artificial intelligence wakes with the sun. Its body is a small radio tower with solar cells and a modest signal. With sufficient solar intensity it powers up and responds to the environment, playing with simple AI sound synthesis algorithms in an attempt to imitate and broadcast what it senses nearby, such as insects, birds, frogs, wind, falling rain, changing weather, or magnetic phenomena. It hums and sings, perhaps accompanying a chorus of crickets or a passing bear, perhaps transmitting a memory of a bird from the recent or distant past and the song it sang then. The human culture that created this small artificial intelligence may have changed radically or may no longer exist, but it continues its sonic explorations, generating and remembering sounds, and transmitting signals to the inhabitants of its immediate animate world.
In our present, the Wave Farm realization of Solar Radio is an outdoor sound installation featuring a small artificial intelligence mounted to a short radio tower which wakes with the sun and sleeps when the light grows dim. It monitors the seasons and the amount of energy available to it through its solar cells, generating an evolving composition in response to environmental conditions. Listeners may access Solar Radio at wavefarm.org/listen and will also encounter it woven into Wave Farm’s terrestrial radio transmission, WGXC 90.7-FM.
The AI is keenly aware of the state of its energy source – the electronics know when the solar panel is in full sun or in the shade, or blocked by clouds. It can change its behavior, and switches its circuitry to draw out the power in different ways. The resulting generative sound reflects the mood of the AI and its perception of the outside world that changes with the cycle of seasons. Low energy waking-up audio consists of tones or tone-poems made of combinations of simple waveforms. As more energy becomes available, the AI can also better observe its fluctuations and add more complicated computed sounds into the mix when the energy levels are high enough and stable; it may also develop an earworm, or fixate on a remembered sound for a time.
Solar Radio proposes a different way of thinking about and relating to electrical power and small-scale computational systems. It moves away from the idea of power being instant and ubiquitous. Technologically, it embraces its limitations rather than combating them within the rhythms of the environment and the sun. It also speculates on relationships between artificial intelligence and the world that could take place beyond human intention or control.
This project is made possible, in part, by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature and the Andy Warhol Foundation for the Visual Arts.Additional travel support for Anna from the Rydell Visual Arts Fellowship.
Radiophrenia has launched, the excellent radio art project in Glasgow, heard on FM, on-site and online from February 7-20, 2022, transmitting from the Centre for Contemporary Art.
I have a couple of collaborative projects broadcasting as part of the overnight slots: the NRRF Radio Collective‘s We Interrupt This Broadcast(2021) and my ongoing collaboration with Absolute Value of Noise/Peter Courtemanche on the project Solar Radio(which will also soon be a permanent installation at Wave Farm in Upper Hudson Valley in 2022).
Tune in:
February 12, 2022 01:00-05:00 and February 16, 2022 03:00-04:30 Glasgow time for Solar Radio
February 8, 2022 0:00-02:00 and February 11, 2022 05:00-07:00 Glasgow time for We Interrupt This Broadcast
Extremity Cassette is a generative audio piece that imagines samples on a near-endless stretch of audio tape. Wound through a complex, multi-head cassette machine, the samples overlap with themselves, repeat, vanish and reappear. The magnetic nature of the machine itself picks up noises from the ether and mixes them with free reed and heterodyne sounds.
Inspired by the short story The White Death by Stanislaw Lem, where a planet made entirely of inorganic material is the crystalline host to fabulous machines, Extremity Cassette imagines a prehistoric mechanism that loops and churns out a never ending, ever changing musical score. Until one day the organic world is introduced … then rust interferes with the workings of the cassette … the sounds become progressively more erratic, and eventually stop.
Originally composed for Art’s Birthday, 17 January 2009, Extremity Cassette will play overnight from June 1-7, 2021 on Radio Tsonami, originating from Valparaíso, Chile.
Absolute Value of Noise (Peter Courtemanche): VLF Antenna and Receiver Anna Friz: Theremin, Harmonica, Kazoo, Melodica
I have a number of radio art works (collaborations all!) in the current edition of Radiophrenia (2019). Tune in May 19-26, 2019 to listen to the full schedule of radio art from around the world.
May 21, 2019 17-17:30 Glasgow time (GMT +1): Embodied Radio Devicecreated by Absolute Value of Noise and Anna Friz
May 23, 2019 2:00-7:00 (GMT +1): Embodied Radio Device (long form for overnight listening).
May 24, 2019 16:00-16:50 (GMT +1): The Joy Channelcreated by Anna Friz and Emmanuel Madan
Radiophrenia is a temporary art radio station organized by Mark Vernon and Barry Burns– a two-week exploration into current trends in sound and transmission arts. Broadcasting live from Glasgow’sCentre for Contemporary Arts, the station aims to promote radio as an art form, encouraging challenging and radical new approaches to the medium.
“Art’s Birthday” is an annual event first proposed in 1963 by French artist Robert Filliou. One million years ago on January 17, someone dropped a dry sponge into a bucket of water. And so, art was born. Filliou proposed a public holiday to celebrate the presence of art in our lives. In recent years, the idea has been taken up by a loose network of artists and friends around the world who exchange audiovisual parties, first via the post, telephone, fax, and later internet streams and public radio satellite. Each year the Eternal Networkevolves to include new partners – working with the ideas of exchange and telecommunications art.
This year, I’ve joined Absolute Value of Noise to realize the Embodied Radio Device, a generative radio stream which supposes an Artificial Intelligence that is trying to recreate the sounds of life in its immediate environment – imitating the sounds of insects, birds, frogs, magnetic phenomena, the wind moving through the trees, rain falling, and waves on the ocean. The humans play along with various forms of synthesis. Listen online until January 18, 2019. AI constructed by Absolute Value of Noise, using his Solar Radio outdoor installation which responds to sun exposure and environmental factors, and I’ve provided some accompanying ‘human synthesizer’ and assorted radiophonic/acoustic grit.
Tune in– best accompanied with cake. Happy Art’s Birthday! Remember: the End is just pretend!
Winter returns, which was a bit of a shock when I encountered it in the Toronto airport, traveling from midsummer in Chile to land in -22 celcius in Toronto. Now a month later, my tan is pretty much gone, and wearing long johns every day just seems normal again. The winter gusts blew me further north, even, to a work/retreat period back in Iceland, in Seydisfjördur, on the far east coast. Here I’m back at Skálar | Sound Art | Experimental Music HQ, to develop some exciting new work which involves field recording, pinhole cameras, turning a small empty house into a sound sculpture and/or radio station, and (tangentially) knitting a lot. Many thanks to the Canada Council for the Arts for sending me here and funding the research and preliminary production!
It may be dark and cold, but radio continues. ZimaFM/radioCONA Ljubljana broadcast my five-hour Uncoordinated Universal Time(2014) piece, an exercise in suspending time by manipulating the zero hour of the atomic clock, designed for overnight listening; Radiophrenia will be broadcasting the piece as well in April 2015 from the Centre for Contemporary Arts, Glasgow. Mobile Radio did a retrospective of their Mobile Radio Bienniale Sao Paulo programming as part of the 12 Days of Radio Art on London’s Resonance FM, which included some back episodes of my M.O.L.E.C.A.S.T. BSP series.
Coming up you can catch me and Konrad Korabiewski performing Telefunken Twins live in the ORF Kunstradio studios on April 12, 2015, featuring, among many other sounds and instruments, two particularly stylish Telefunken Bajazzo transistor radio/cassette machines.
Finally, I’ve just completed a new commissioned work for Radio Arts on the topic Dreamlands. My piece is called Two Sleeps, a work about dreams of air and water, rising and falling. It premieres on Resonance FM in London on April 15, 2015, 9pm GMT. It will stream from the Radio Arts website after that.
Happy winter from the slopes of the morse mountain!
“Art’s Birthday” is an annual event first proposed in 1963 by French artist Robert Filliou. One million and fifty years ago today, someone dropped a dry sponge into a bucket of water. And so, art was born. Filliou proposed a public holiday to celebrate the presence of art in our lives. In recent years, the idea has been taken up by a loose network of artists and friends around the world. Each year the Eternal Networkevolves to include new partners – working with the ideas of exchange and telecommunications-art.
This year it’s the 1,000,050th birthday of art, and I’m getting back into party mode here in Chicago.
First off, running a stream together with absolute value of noise of our newly recomposed generative piece Somewhere a voice is calling. We have rethought the piece as a composition and stream, now made with new material, though the concept remains the same: an exploration of the first broadcasts of the human voice into the transmission ecology over radio by Reginald Fessenden and others beginning in 1906.
Stream runs January 16-18, 2013, and you can listen in here.
Meanwhile, live and fueled by too much sugar, I’ll be hanging out today at the Experimental Sound Studio, which hosts the radio collaboration NRRF Radio in the Audible Gallery from 2pm to 8pm, January 17 (GMT -6). 5925 N. Ravenswood, Chicago.
Transmitting to the neighbourhood and the world via FM and stream LISTEN LIVE HERE.
We’ll be listening and exchanging with any and all birthday streams circulating internationally, and do our best to infiltrate available bands with tenacious earworms and parasitic refrains, powered of course by lurid birthday cake. Glue Banta, Jonny Farrow, Anna Friz, Stephen Germana, Jeff Kolar, Peter Speer, and guests bring the noise.
Drop in, tune in, eat cake. Happy Art’s Birthday! The End is just pretend!
