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:
4.55
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?
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
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.
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.
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.
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