We put forth the notion that radio is primarily an idea, in excess of its technology John Corbett (Radio dada a manifesto)

(I resonate in radiophonic space)

we resonate together

when we speak

There is space, possibility, room for manoeuvre- we learn ourselves as we learn each other.

Resisting the depoliticallzing nature of 'virtual space'- here- we are you hear, dialogic, adventuring in chat: This is a work about making work-

a sort of oral writing, transitory.. . coiling, curvilinear curving in a arc of a circle, becoming a spiral, transferring itself, belonging to symbols, to names derived from sensations and pulling out of silence the forms, this syntax, this life (Chantal Chawaf (Elwina : The Fairy Tale Novel)

Radio spills out from the studio and into its reception environment – if some/ a few/ local/ varied/ friendly/ young mothers had a transmitter, what might occur?

Taking this idea and a recorder into 3 living rooms over 3 evenings and speaking with 4 women- seeking to hear answers to questions of territoriality, opportunity, femininity, technological approbation and voice. We worked together to generate a piece of art focused on our shared radio possibility- what, how, where and why would we wish to 'make radio'?

In our chatter- the disparaged, oft dismissed commonest female speech genre-- ther appears to be treasure - pluralistic, multitudinous - not linear yet full of significance...

There is a brouhaha, an opportunity for being heard differently and for hearing differently.

Felix Guattari writing in Popular Free Radio in 1979 predicted radio moving in two distinct directions; either toward mainstream corporate pop radio or I quote:

Toward miniaturized systems that create the possibility of a collective approbation of the media, that provide real means of communication, not only to the 'great masses', but also to minorities, to marginalized and deviant groups of all kinds.

Young mums, (single parents even!) are marginalized, and in our experience, should we refuse to comply with ideals of motherhood/ womanliness/ question the state of affairs, we are also considered very very deviant. Women chatting together, over a G&T, a coffee, the garden fence- turns out to be full of potential, laden with importance.

Part soundscape, part social arts project, part poem, this work emphasises radios' potential as a social communication tool, a performance platform and a community playground...

chat radio

Women chatting framed by longlegsrunning

o.oo - 2.oo; tuning in
2.oo - 21.46 Chat Radio followed by a framing statement....  ..  ..  ..  .    .    .      .      .

Mutations of Voice(s)

During my research on voice I have found this piece of theory by N Katherine Hayles regarding spliced voices that I thought was particuarly pertinent;

"Once someone’s vocalizations and body sounds are spliced into someone else’s, the effects can feed back into the bodies, setting off a riot of mutations. The tape recorder acts both as a metaphor for these mutations and as the instrumentality that brings them about". p79

..while this article is specifically talking of tape recorders rather than mics or radio, I feel what it's saying with reference to the work we are making is extraordinarily interesting...

"Through mutation, voices produce the bodies they inhabit. In this context ‘bodies out of voices’ does not indicate silence but its reverse, and interior monologue that infests the body and replicates through it to create physical changes and mutations within it". p79

Sound States; Innovative Poetics and Acoustical Technologies
ed Adalaide Morris

listening to unfamiliar voices
overlapping
talking nonsense
trying to point in one direction
then another
can seal a fate

there was cohesion of a sort however
a shared striving
a meeting of like minds
talking of talking

listening but not for a point of entry
all boundaries had collapsed
a purpose built crashing in of words
and thoughts

our intention
simply
to explore voices travelling

open permissions

The performance of this work occurred on a sunny afternoon, on a rug on the grass outside the Performance Centre at Falmouth uni. I used a 'suround sound' set up of 3 transistor radios, all tuned to my transmitting device which played the work in mp3, as can be heard on the Soundcloud link.
This performance situation was inspired by my interest in minifm- my first proposal for this project was to craft  5 transmitters and run a radio station for the performance centre, as a immersive environment .(see proposal ,1st blog post- but UK legalities got in the way of carrying this work out)- i was happy to use a very miniFM situation and play radio 'as it might be heard in the park'- it was most important to avoid a studio environment, and nice to involve the additional sounds of the campus into my final performance there.

Soundart Radio 102.5 FM are going to broadcast this work, on FM and on their Internet stream at http://www.soundartradio.org.uk later in June...

REGARDING DOCUMENTATION:

As i write this project up, i recognise the tendency to try to own it, can be likened to killing it- holding it down, it suffocates. That was never the idea, this work exists in the space between potential and commitment- its been a strange shared process- and to continue (possibly continue...) in that spirit, the voices heard on the work  have been invited to edit this blog:

I am fortunate to trust them all-
i value what they have to say.

radio techniques, the space, terratorality

Shifts in technology bring with them new configurations of embodiment, and in addition resituate how voicing comes to make incarnate a sense of self.

La Belle Raw Orality: Sound Poetry and Live Bodies 146

There we find the radio contortionists- artists intent on finding ways of making the airwaves carry more than just signals of ideas, communications, questions or announcements.

The arrangement and rearrangement of voices, allowed by radiophony and telephony has encouraged a self awareness that could not be known before the possibilities of doubling and fragmentation that these technologies introduced.

My idea is to investigate these possibilities further, as a collective of producers. i met with 4 women friends to discuss and explore radio. Rather than the acceptance of stultifying media formats and conversational mores, we might assume and attempt these technologies for a project in which voice, and therefore embodiment and person hood/ particularly womanhood might be reconsidered. (which voice? OUR VOICES).

Listeners are invited to not only hear the cacophony as a sound event, but to enjoy the strange sensation of gabbling gaggling giggling women talking private politics and personal passions on the public airwaves- and so to imagine both feminine art and radios' possibilities afresh- a site for collaborative projects, open, dialogic, a broadcast of a narrow cast, highly involved but very everyday.

Anna Fritz, in her essay Transmission Arts in the Present Tense, writes Transmission artists consistently engage in processes of cultural transception and feedback in their works. She states that a constant theme within transition arts is that of displacing one-way (mainstream) communications with a polyvalent transception- a appreciation of the elasticity of the mediums and their diverse uses within social groups. Conjoining sending and receiving, a transceptive approach to transmission is not only a statement (“I am”), but also an orientation towards active, engaged listening. Cultural transception -sharing- learning ourselves and learning others- occurs naturally in the confirmation of human relationships and communicational practices.
This perceiving production and reception as a interaction is a continuation of the thought of the- feed back loop-a sonic occurrence- is also found in talking/chatter- conversation that is self referential, recursive, a returning and adding to themes and ideas, a kind of sedimentary processes- allowing for many inputs and points of view...

I hear a resonance between the radioart techniques listed below by radio artist Alejandra Perez Nunez, which she calls bending strategies, and the way women chat together:

retransmission

cut-up

overflow

persistent use of discontinuity

silence

recursion

recycling

(p242 elpueblodechina a.k.a. Alejandra Perez Nunez. Bending Informational Circuits)

These techniques open up a subject to the listener, make it approachable: begin a discourse- share interpretations, turn it over and over, expose it to sounding from all possible angles so that rather than regularity ( expected forgettable?) there is a acceptance and delight in the complexity and 'strangeness' of the material. She writes of these techniques creating a listening experience which can operate as a 'interface to play with structures of the collective imaginary'.
Nunez describes the pattern of broadcast she develops in her work as recursive, 'looking at itself over and over'. She writes 'such strategy was understood to undermine the tendency toward production enacted by mainstream media, a vapid fanaticism toward the production of content, a kind of anxiety for and with production'. We were happy to experiment with form, and chatted over many ideas, using story-telling, testimony, supposing and references, woven through with odd tangents and sudden thoughts- each of us relaxed enough in the company to speak naturally- in effect- the chatting about the work actually makes up 50% of the sound material used...

Radio art encourages 'flux' (“the serendipity of the production process- occurring when one improvises in the studio or collaborates with friends.”) and rumour (noise [. . . ] talk-back, participation radio, pirate radio”) (Dyson according to Ellen Waterman, 123.) This ambiguity is what I love to be part of, craft, this is where I write and feel a creative force: radio and productive activities as polymorphous- multi levelled, open ended, and welcoming should you choose to hear the invitation.

A theme of this project has been to introduce these friends to the possibility of using the local community radio for themselves. The station sitting on the hill runs a open door policy- its approach to broadcasting is one of strong commitment to diversity and inclusion... yet still, there is a prevalent attitude that radio is a 'product' one has, rather than something that could be used in myriad ways...

Neil Strauss in his introduction to Radiotext(e), emphasises the recently introduced but now firmly entrenched unapproachablility of corporate mainstream radio. He illustrates this point by noting the difference between a normal 'radio reciever'- a back box, the object, the commodity and its mainstream accepted use of the bandwidth, contrasted with 'radio', unavoidable and unstoppable radio waves, as a concept, a playground : radio was originally a interactive technology, not dependant on the record industry and tied to the pop culture machine but a material for hands and mouths as well as ears to explore. Strauss calls radio a 'model built of putty', and 'a parallax- changing depending on how it is viewed'.

The distinction between listener and producer is contentious. I engaged with this work as a form of community mobilization, agreeing with Kathy Kennedy 128 The radio is generally used as a extension of the body... a bridge form one body to another.

However enthusiastic an artist is about the potential of radio, it seems unavoidable that radio is a politicized medium. Regulation of Content, political and conceptual, has introduced expectations : broadcast quality, balanced programming, congruent appeal, enforced programmatic assumptions, market research, the trained voice, restrictions to access, uniform time allocations, technical specifications, licencing regulations, to name but a few (Kahn,D Radiocastings: Musings on radio and art).

Bertolt Brecht writing in 1932 Radio as an Apparatus of Communication, suggested radio has a function beyond 'pretifying public life' and suggests, radio should step out of the supply business, and organize its listeners into suppliers. Any attempt by radio to give a truly public character to public occasions is a step in the right direction.

Brecht is calling for a radio that mobilizes its audience, and one which is both continuously open and approachable- a pedagogic experience that could counteract the mock-pluralism of free-market media-  the increasing concentration of mechanical means and the increasingly specialized training. . .  call for a kind of resistance by the listener, and for his mobilization and redrafting as a producer. Tetsuo Kogawa brings this early radio imagining into a modern reality reflecting on the MiniFM boom he helped organize in Japan in the 80's and 90's:

Even if one overlooks the dramatic effect on society, one must admit that mini-FM has a powerful therapeutic function:an isolated person who sought companionship through radio happened to hear us and visited the mini-FM station;a shy person started to speak into the microphone;people who never used to be able to share ideas and values found a place for dialogue;an intimate couple discovered otherwise unknown fundamental misunderstandings.
Radio can touch us in many areas of life...

process- editing, normality vs sensational

FIRST I WANTED TO I WANTED TO CAN YOU JUST LIKE THIS I WANT YOU TO CAN WE I WANT TO YOU

hearing implies a state of preparedness to both ignore and to listen to sounds. 
R. Murray Schaffer

Initial ideas, the 'plan' I bought to the gathering became a burden to the process that was unfolding. I had to relinquish my first proposal 'Illegal Broadcast' (see proposal, first blogpost as) unnecessary -this work revealed itself without any care toward my poor battered 'my plan, my idea' ego. I had suggested that the desires of all of us would find a place within the work and we would devise a drama together- but it became very clear very quickly that this radio work was to be about the experience of 'working together'- the sound material recorded was primarily us all seeking reasons for creativity (artistically, socially) and enjoying each other's company...I made room begrudgingly- I am amazed by the difficulty I experienced letting go of my 'workshop attitude' and letting what happened just occur. This project demanded a deeper level of listening and sensitivity than I had needed so far in my degree- this was community radio in practice, not just in theory!!!

As producer, I have choices to make. Every choice will have implications on many levels:

Recording and editing processes determine the tone, rhythm and amplitude as well as subtlety shaping phonemic, morphological and syntactic elements. They also subtly position the listener in position to the speaking voice Sarah Parry,(2002). This quote refers to recordings that seek to be as naturalistic as possible. I have considered my role in this work carefully. (I cannot own it- without the others- there would be nothing.)

I took recordings of conversations to which I had introduced ideas and introduced techniques to those recordings. Those techniques were controlled acts of chaos. To be true to the themes we were speaking on, and the slowly rising notion that this work was something to do with acceptance and deconstruction, I listened to the recordings, discarded 'that which could not be used- due to gratuitous swearing, or a too delicate subject matter- and then compiled the cut up audio- and let it find its own 'telling'- Why? Because, the juice is between the cracks... Roland Barthes (1985) , suggests the posture of listening is “an attitude of decoding what is obscure, blurred, or mute, in order to make available to consciousness the 'underside' of meaning.”Mixing up time lines, addresser/addressee relays and adjusting volumes are techniques of exploding the material. We seek new communication modalities when we perceive with 'an open mind'- work that makes sense on a more significant level than 'the expected'. I wanted to hear this work over/ anew/ refreshed- to listen and be struck by my own interpretation of its randomness- find its 'message' for me, and make a work that made every body's interpretation something recognisably original.

It would be honest to see 'producer' as 'anarchitect' after Sophie Gosslin. Writing on her collective apo33's radio work and their use of both orchestrated flux and random chaos in sound: Diffusion not only lets the substructure's ghosts be heard, those ghosts that hide behind the machines , the pipes, the electrical wires, waking the sleepless bodies of the real that stands locked in a repressive machine, but in turn allows such elements to come into a larger communicational network. P151 this 'larger communicational network' is that of interaction and possibility. Ambiguous works allow the reader such agency as can shatter the hold learnt interpretation holds over us, allowing listening to become re-invigorated and deeper- a engagement which feeds back into life...
 

Extraneous sounds to speech, coughing, clinking, hiccups, sniffs, chairs banging, cars passing, farts, burps and legally contentious swearing remain- the real body of the text remains unmolested in the processing, present as extra-linguistic contextualization- references to the finite happening and the human embodiment of the work's moment. Through the inclusion of these sounds in the mix, I hope to have generated a kind of 'sharawadaji' – a effect of- unexpected beauty in the absence of any discernible order or arrangement'. This effect is common in cite soundscapes- playgrounds full of children, demonstrations, bustling market places or carnivals- dirty busy places...

My choice to edit was influenced by montage techniques: I have not used any repetitions or effects other than adjusting the levels of amplitude,- my editing has been rather about cutting up and overlay as a reflection on the ways we speak and hear. Hello William Burroughs...

I think, create, cook, clean, share quality time with others- but- for the sake of critical discourse- the fact that, yes, I am invested here too- there should be a place where this important work of 'mining' can occur. 
 

Bojana says, the space attained, when acceptance of ones agency reveals a perspective that introduces a whole world of possibilities – this is what we seek.

Shelly states the projects that have failed the most are the ones which have rewarded her most.

These are the premises this work is founded upon- there is something for us as producers, and hopefully something for listeners too....

chat radio:

A discourse can poison, surround, close off, and imprison, or it can liberate, cure, norish and fecundate. IT is rarely neutral.

Irigaray

I have been relating this work to my interest in the French feminist school of writing- particularly the works of Cixious, Irigaray, and Kristeva. I find their work so inspiring-the deft mixing of poetry, philosophy,  personal narative, social critique - so enchanting, so rich- (I write below- I speak for myself alone here- aside from conversations i had with my collaborators:  there are allusive correlations and strata's difficult to grasp, I roam through ecriture feminine like a drunk elephant, like a infant that has had to much lemonade...)

Chat- a most feminine phenomena, much belayed as useless, futile, base and low pointless, a weakness.

Chat holds a potential that needs to be recognised- primarily by its users.

What do I mean by chat? The ditsy spurious back stabbing low brow repetitive-to-the-point-of-totally-predictable stick-in-the-mud-does-my-bum-look-big-in-this polite-but-vindictive skirting around of important subjects? No. I am thinking more of engaged and open conversation- a banter that is self aware, or at least conscious of its unconscious....

In the feminine ecriture project, there is a desire to liberate the female subject form patriarchal language- to let the feminine subject write herself, above and beyond the controls and limitations of a 'metalanguage'.

I feel that in the practice of chat we can hear the disregarded beginnings of- not a new language, but a different kind of communication- a plurality, the presence of the subconscious, and the willing to seek meaning together in partnership 'with other', all indicating a potential shift in our relation to the 'symbolic'. Roland Barthes writes of the ecrivain- the writer who actively seeks the involvement of the reader to co-cooperatively generate meaning and the scriptable reader who is responsive to the open-ended text or conversation. The positive role of chat within community itself as a means as sharing relaxation, the assertion of common ground, a chance to share wisdom tell stories and speak ourselves – to establish and exchange meaning- offers another way of seeing chat as a much needed tonic to the business talk/competition and dismissal types of communication used in sensible adult society - mirrored in the authoritative, masculine single-voiced codes of mainstream radio- communications that render powerless by small fascism's and devices of subjugation.

Julia Kristeva, writing in Stabat Mater, says that words are both “too distant” and “too abstract” to articulate experience and situation outside of that which is 'legitimzed' ( for example womans' birth, motherhood, a feminine sexuality). I wonder if there might be a kind of liberation hidden in the mechanics of chat- this is a kind of speech that follows Derrida in his thought that a language user can never take possession of what they write or say: that the encoded 'setting down' descriptive and linear communication of 'the Law' might be disrupted by- the active participation- the pleasurable embodied- the self referential-the the- that there may be a route into- into- into- into- I don't know, but sometimes I think I feel it there...

Dale Spender writing on the feminist issue of language :"The crux of our difficulties lies in being able to identify and transform the rules which govern our behaviour and which bring patriarchal order into existence. Yet the tools we have for doing this are part of that patriarchal order. While we can modify, we must none the less use the only language, the only classification scheme which is at our disposal. We must use it in a way that is acceptable and meaningful."

I am not comfortable with the word 'acceptable'- refusing to comply with mastery is never going to be acceptable- Helene Cixious urges us in Sorties to 'break into' language, explode the law of its discourse and make it 'fly'.

Felix Gutarri, writing in The Three Ecologies, (1990) argues that practices of freedom need to be social practices. Finding our voices /learning ourselves / becoming- this is not a 'selfish arts act'- it is a everyday activity that is essential for individuals and societies should they wish to evolve beyond the difficulties facing us as a race now.

it will be a question of literally reconstructing the modalities of group being [ l’e’treen-groupe], not only through ‘communicational’ interventions but through existential mutations driven by the motor of subjectivity. Instead of clinging to general recommendations we would be implementing effective practices of experimentation, as much on a micro-social level as on a larger institutional level. 

This radio work for me is a continuation of my education- the process of learning by doing- of 'writing myslef' (slippage after Joan Retallack in The Poethical Wager- in recognition of  the mysterious processes of person hood). I have never collaborated so intently before. It has effected me.

Radio has a public use- that of sharing ideas and thoughts for the benefit for all. I hope with all my heart to continue my work on that medium, and develop the thoughts and feelings i have into something transmittable and that a dialogue- a conversation, much chat- is forthcoming. Through this medium 'we' can find, locate, and adventure further into resonant space together.

first proposal, second proposal- good intentions, roll over...

1st proposal

(I want to make a mini FM transmitter unit with which to broadcast (and receivers to receive?). 
- radio contortionists, musical actions, communicative expressions, producing my own work-in-progress and is a exercise in curating interactive arts space of for listeners to share through creating.... Do I find a event to tie the work into? Finding willing passers by to input may be problematic... a mash-up of past influences and up aired work.Beating the boundaries of transmission could be interesting- this feels political- out of transmission = voiceless.... random, lost, chance, ambiguity... exposure, interviews, sonic documentation of happenings and others work.)

THIS IS WHITE NOISE

Following Tetsuo Kogawa's models found online, I will endeavor to construct a transmitter a which will allow me to further my work- broadcasting beyond the confines of institutional corporate concerns and dictates, without involvement in the radio station's ethos- no need to qualify as a broadcaster- just play out....

Free radio does not broadcast (scatter) but communicates (co-unites) messages to a specific and concrete audience. Opening programming up, and having translucency at source is a democratic practice.

Kogawa flags up transmitter/ receiver relations being a cultural problem- he asks that a concept of transmitting/receiving be developed This is to ask for a producer to develop their ideas of subjectivity and to enter into creative radio practices which develops broad/narrow casting as  progressive relationship models. The active use of radio waves can be 'a practice of freedom' (Foucault) apposed to a act of control and conditioning. Felix Guttari's idea of transmission transversal- “Unlike conventional radio, free radio does not impose programs on a mass audience whose numbers have been forecast, but freely comes across to a 'molecular' public, so that it changes the nature of communication between those who listen and those who speak." This is done by making the transmitter approachable- its location is approximately that of its reception- its producers are its listeners, the act of multi-point communication is honoured- individuals can participate in specifics in different ways, negating a centralized authority which would keep power of disscussion and expression removed form everyday peoples' involvement.  Listeners become co-creators, opposed to  silent consumers- radio like this brings debate and conversation back into the (area of transmission) public arena.

Public and personal

So why not just talk face to face? There is a agenda involved in this project- a desire to subvert and unlock the traditional and problematic control of the airwaves by authoritarian power- the rights of governments and corporations to rule the output- and the representational stranglehold of stereotypical communications...

(where do I fit in? Hybrid, uncomfortable, mutant, irrational, ambiguous- not wrong, not false, not mad, not nonsensical- the use of a public addresser to address these situations through the propagation of artwork and social work that would not find airspace on conventional radio.)

"below 15 micro volts per meter at the distance of 100 meters from the transmitter

theoretically covering a .3-mile radius at 76-90 megahertz"

here are the links to investigate:

http://anarchy.translocal.jp/radio/micro/howtotx.html

its antenna http://anarchy.translocal.jp/radio/micro/20050327antenna_e.pdf

vid- http://www.youtube.com/watch?v=agQren96kYk&feature=related

http://tacashi.tripod.com/elctrncs/smplfmtr/smplfmtr.htm

http://www.ehow.com/how_6717913_make-fm-transmitter.html

4.55

http://www.christofmigone.com/html/projects_gallery/radiocontortions.html

How would you describe your creative (sonic) practice?

My practice has been mainly focused around facilitating my script and writing work onto a sonic platform though the course of my BA. I have studied sound walks, and produced several, performed live poetry to a sound scape crafted form recordings made on site at a derelict school, and broadcast works of radio contortionism on air which have taken the form a solo voice transmissions. I have curated a regular show for Soundart Radio, and made several short works for the radio station's festivals during my CEP project.

I do not play instruments as such but am keen to explore sonic possibilities in the world around me, and my writings (and reading) often focus upon address and conversation, the communicative aspect of expressions and the politics of noise.

What are the source materials that you work with? [Input]

Usually a written script, recorded audio via zooms and binaural mics, and other recordings taken from Sourceforge etc. I like to make live work on radio- this is a challenge to my performative skills, which are unpolished to say the least- but I also like to work with mistakes and cock-ups- Freudian slips, stutters, etc.- the work I make enjoys exploring its own mortality?

How do you interact with your materials? [Sculpt]

I 'play the environment to generate sound' (i.e. sticks against metal railings) and use Cubase editing software. I have not explored production much- pedals, effects, looping- these are things I would like to experiment with, but have not found the opportunity since my time is limited re other responsibilities and I often have to focus specifically on the project in hand with little room for other interests.

My pen is a exposing tool, paper contract,

a microphone the ear of god, radio waves a prayer

Describe the type of output(s) and ‘output’ scenarios that you have created and are interested in[Output]

I am particularly interested in radio art at the moment. This is half the romanticism of the medium (who listens? ), and also it's suitability for the work I am making. I particularly appreciate radio as a 'open source' – free to anyone with a radio receiver, no locational bias, etc., and its possibilities as a community articulator. This is important to me as an artist. The randomness of tuning-in also fascinates me... I would like my work to be located as broadcast, as narrow cast, in gallery installation, but always as a approachable work- something that is open for a listener to respond to, and a dialogue to occur. This is something I want to investigate further, and I am hoping to create a live radio space that is interactive, via mobile phone, Skype, email, drop-in...

What is your strongest point as a creative practitioner?

I am still learning

What is your weakest point as a creative practitioner?

I judge myself to harshly

I will work from the tutorials and instructions found online, and look at similar methods of creating small broadcasting outfits. My desire to make a portable low narrow casting unit fulfills several ambitions:

to master some technology

to eat cake drink coffee and learn with my geek friends

to have a usable work to move through future festival/ broadcast environments.

To have a self managed platform for my writing.

Listeners bring their own speakers.

I have a microphone

Local radio- relevant to those who live in a community

Police and emergency radio

Citizen broadband

Hospital radio,

School radio,

Shows on a local community station- i.e. Soundart radio- open to choice led shows from any willing programmers.

Public radio- corporate consumerist led advertisement- news from government approved media moguls and those with vested interest in maintaining ‘order’ and ‘status quo’ – these words totally bug me when people are being slaughtered and natural resources plundered- there is no land of the free whilst our peace is bought at the price of others’ misery and blood. I am so ignorant- But I feel the difference between right and wrong- so would you – its simple – let some folks rape your mother sister and daughter whilst they burn your house and force you to massacre your neighbours- it doesn’t sit well in a persons mind does it? As the late great Vend Vicar said – “ Don’t try to talk high art to women with their wombs hanging out between their legs.”

Materiality, sensuality, fleshed out,

Lips, guttural mutters, the seemingly

Anonymous caress of thousands of voices

Poised inches form the Ear muzzle us

With their musings, immerse us

In the grainy configurations of body talk

Versus the merciless disembodied tongue

Frizzle/ Mandeville

OWNERSHIP + RESPONSIBILITY = COMMODITY + DISPERSAL OF INDIVIDUAL RISKWEIGHTVOICE

I find I am scuppered in this project- I did not realize the finding of components would be so difficult....

the diodes allude me.

The radio tuner flange will be shipped in two weeks...

I can't find a transistor DC158 ohm anywhere...

I continue with this miniFM project, but for the needs of my CAP, I will focus my energies on something other- a composition...

listening a predisposed culturally learnt  psychological position of attention
hearing- random situational physiological accident- Bernstien

I am going to produce a radio play as my final piece.
This play will show my skills as a writer and radioartist, and negate somewhat the difficulties I am having in participating in my BA since the college merged with Falmouth1. This will be a collaborative piece- as a community radio work, there will be a focus on participatory creation, the sharing of skills, ideas and processes. My own activities within this will be as director, editor, and producer- I use these dated theatrical terms to emphasise my position as the project leader- though, I do not know what will actually occur... five and more intelligent folks in a room with a radio pirate transmitter~? anything could happen...
I love radio2 The theme we will craft around will be 'pirate radio', which is influenced by my interest in micro radio, and free radio (according to Tetsuo Kogawa and Felix Guattari)- practices of lo-fi community action. this work is in radio's honour, using a mix of original recordings and improvisation with found sonic works- field studies, scripted readings, theatrical interludes, interviews and ripped off sounds from every where. Siting the play in the traditions that have borne it I am planning to craft a homage to the artists and influences that encourage this kind of sonic
experimentation.

“Beloveds! Cracked avant-garde- forerunners of everything- like voices form the future, making sense of the discontent, like here is good company, gone bright, effervescent, shooting stars striking with lightening audio pitches pricking undersides sharp words guttural rumblings and externalized internal melody phases or phrases and rich noise gravy ladles thick, on the cold potatoes of life.

Working towards facilitating others' voices onto the radio is exciting- my interest in community radio is aligned with Felix Guattari's idea of 'transmission transversal'- transmission arts and radio situations in which the relationship between producer and listener is a open creative dialogue. This occurs when listeners and producers are both able to feed back into the process. This play is a experiment between a group of individuals- writers, comics, artists and group of acquaintances with
multitude skills and individual approaches. In this project I will facilitate our desires and ideas- our process and communicative activity- onto the local radio. Soundart Radio's manifesto-states as one of its functions: 'to be available to anyone that wishes to make radio'. my collaborators have not used the Soundart Radio platform for work before- I am really very excited to be able to encourage their relationships to the station. This collaborative experience will be documented into a booklet,
which will be assessed.
A fascination with radio as a medium, material and site for experiment are the foundations for this work- I have been 'aware' of this artwork waiting to become manifest for sometime- I have made audio walks, site specific radio theatre, and have been a volunteer producer at Soundart Radio, all experiences which prepare me for making a work which develops both community radio and script
writing capabilities.
“Technological development, and in particular the miniaturization of transmitters and the fact that they can be put together by amateurs, 'encounters' a collective aspiration for some new means of expression. ” Félix Guattari. "Plan for the Planet". In Molecular Revolution. Psychiatry and Politics. London: Penguin Books, 1984. p. 269. —

I want to know what might happen- what new ideas, what kinds of aspiration might occur...
The flexibility and relative ease of sound crafting for radio gives us lots of room for play- rather than a intense focus on the minutia of sound, the rubbish quality of most radio speakers in most listening situations frees us to focus on scripting and rawer components-in-relationship, such as humour, plot, and big bangs.
So, pirate radio- but rural style...braking the law as a art practice, we will map out some of the 'legal boundaries' in a hopefully entertaining and thought provoking fashion.

Some Elements -

# high speed police chases down Devon lanes, mobile transmitter, tractors, bikes, boats, horseback rickshaw, the bob the bus, inside the stomach, (Stellarc). This is a chance to ask 'the public' in passing, what they would like to say, if they could,- pirate style...
# voice masking software kids speaking, babble language, distortion to conceal their identities,
(Cristof Migone)
# revelations and secrets, community backhanders exposed and neighbourhood dealings uncovered,
#techies who are happy to paid in fudge and reiki healing, local colour
# Dead voices or alien communications, historical radio and recording artists mixed in, like ghosts,
offering advice, taking the piss, reminding us what its all about...
# The Radio Voice- nemesis- always in pursuit, trying to shut down the transmission and questioning the pirates' rights to be heard... received pronunciation-the Queen's English, not used so much now as a BBC relic which we hold in this highest esteem or great distrust.. the pursuit Tof- Com . These agencies would enforce rules on call-signs, assigned frequencies, licensing and acceptable content for broadcast. I have asked a plummy voiced actress to play this part, she has agreed, there is room for development...
This work will broadcast on Soundart radio 102.5 FM, online at www.soundartradio.org.uk, and I am seeking permission to broadcast it on Falmouth's The Source FM too....

As a University festival performance (18th-22nd) I imagine a PC space with a selection of portable radios set up. I am happy for this to be as relaxed as possible. Maybe at the Contexture cafe? This is a sonic arts piece- I am not particularly interested in how it is 'seen'. This is one of radio's strengths- it is usually experienced as part of the listeners' environment- not a arts construct entered into in a studio/ gallery relationship outside of normal life in the arts world. I like the ascetic of 'cafe radio' the greasy spoon, or park radio, in the sun on a blanket.
I am going to recreate this situation, using the localized transmitting device I can transmit from my PC to close by FM radios,tune each to broadcast this play (nice to hear form multiple sources oooooooo the immerse sonic environment- just on, in the background) …

1I still feel I do not 'know Falmouth'- I have run out of funds for regular visits, have not yet made a relationship with the radio stations there. I have adapted to these distance based issues by focusing fully on radioart though Soundart Radio– transmission art and my relationship with that studio and producer membership team- as this allows me a freedom to produce in my own home, without over
committing: it occurs to me it would be a strange thing to make a installation or performance for Falmouth, when artistically my work currently focused on radio's public availability and the opening of the relationship between listeners and producers in the South hams in Devon.