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Etkilendikleri
static between stations, karheinz stockhausen's "hymnen", rotate your state, jean cocteau's "orphee", numbers stations recordings, EVP, charles babbage's "ninth bridgewater treatise", guillaume apollinaire's "the moon king", fluxus, K8, tetsuo kogawa, dane mitchell, laurie anderson, david clegg's "imaginary museum" & "cafe republic", roland barthes, gertrude stein, william burroughs' "playback", dictaphones, delia derbyshire, oval, r a d i o q u a l i a, thela, dion workman, joyce hinterding, david haines, nam june paik, joe milutis, kim pieters, nigel bunn, annea lockwood, kaffe matthews, psychogeography, textbase, clara rockmore, white winged moth, ent lang, sandoz lab technicians, tony conrad, aleksander kolkowski, c. spencer yeh, william basinski, john cage, len lye, xpressway, a handful of dust, alastair galbraith, the dead c, glenn gould's "solitude trilogy", jack ellitt, musique concrete, sigma editions, slave pianos, walter ruttman's "weekend", bad in-house pub stereo systems, the international necronautical society, apo33, ((ethermap, metamkine, kenneth goldsmith, darrin verhagen, carsten nicolai's "realistic", aki onda, conlon nancarrow, library-stack vinyl, mille plateaux, phasing cicadas, interventionist art, frances ford coppella's "the conversation", residual media, james joyce, orson welles, julian dashper's lathe cuts of gallery spaces, jean-luc nancy, susan howe, paavo haavikko, anne-marie albiach, steve mccaffery, bpNichol, arkadii dragomoschenko
radio cegeste is a transmission art project by new zealand based writer / curator / broadcaster sally ann mcintyre. a sporadic, nomadic radio show without an umbrella station or regular programming, radio cegeste manifests as an ongoing series of experiments in site-specific radiophonic locality, within whose open framework micro-radio stations are created as bounded events for particular spaces via the broadcast source of a very simple handmade, low powered Mini-FM transmitter, in conjunction with an array of radio receivers.
[image: markus gradwohl]
indebted to what Tetsuo Kogawa has refered to as 'palimpsest art' (that species of radio art in which a variety of sound sources blend and clash in the broadcast bandwidth), radio cegeste investigates transmission for both its historic imaginary and its imminent immediacy, weaving a radio-poetics of the ether with an emphasis on drift-aesthetics, mnemonic fragility, slowness, neglected and incidental sound, etheric ghosts, imperfect and/or residual technology, technological medium-specificity, phonography, locality and the practice of engaged, attentive listening: un-monumental field recordings combine with the dial-flicking marginalia of the broadcast spectrum, sonic ephemera normally edited out of 'legitimate' radio journalism, the anecdotal uncertainties of oral historic accounts of place, the spillage of signal from electronic objects, live and pre-recorded filtered, digitally macerated spoken texts, unstable architectures of bandwidth static, associated old and new media-materiality, and the flickering of transmission's blind spots in 'dead air' overlay.
the broadcast signal of a radio cegeste event/station can reach up to 150m, depending on the environment. the basic material of each broadcast comprises a bank of recordings phonographically captured to create a specific playlist of sound-events. these can operate somewhat as a mobile archive, as collections of sounds 'for...' environments and situations which are themselves fleeting or otherwise ordinarily ignored on a sonic level. all are conceptually relevant in some way to the particular time and/or place
of playback, whether they be field recordings of the sea, insects or cityscapes, lapel-mic recordings of journalistic interviews, oral histories, church organs, empty gallery spaces, libraries, pub conversations or experimental music gigs, badly preserved vinyl pressings, EVP tape experiments, or other sonic ephemera. during performance, these artist-generated airwaves can drop out entirely, or encounter other signals on the FM dial, becoming infused with the deliberate dial-flicking indeterminacy of radio static outside their rather unstable signal (and sometimes dispensed with altogether, in favour of investigating the transmitter's no-input 'theremin-like' potential). performance locality is then further underscored as the archival sonic elements shift with the instability and physical boundedness of the transmitter's use, its physical playability as instrument, the artist's and/or the audience's movements with handheld radio receivers around the space, or the interaction of other performers picking up the signal through various instrumental 'aerials', all elucidating the existence of the invisible material of radio waves as physical properties, while breaking down the sonic hierarchy of signal and noise. the performer and audience's dual physical presence within the broadcast radius of each event/station makes transparent and tangible the relationship between broadcast transmission and reception, as well as the intimate collectivity of radio listening experiences.
radio cegeste event/stations have manifested, formally, in a number of ways, some have involved the playback of banks of environmental recordings gathered from particular places and layered again within their immediate locality within 24 hours, to create highly ephemeral, relatively un-performative site-specific radio stations as 'expanded documentaries' (plans for a solar powered 'interspecies' radio station for NZ native birds are currently underway, and investigations into 'environmental radio' have included the substitution of the usual 9-volt battery in favour of a modified solar panel to power daytime outdoor radio stations), some are performative radio-poetics experiments which layer live vocals with archival and radiophonic elements, and others operate as solo (with violin) or collaborative performative actions with musicians in which the 'expanded noise instrument' potential of radio transmission is explored. sometimes, such modalities are conflated (for e.g. the mp3 entitled 'radio free none / the book of margins' on this site was taken from a live jam session at None Gallery, Dunedin, in mid Feb 09, with Alex MacKinnon, Edie Stevens, & Toki Wilson, with much of the playback material sourced from recordings made the day before at a group violin/cello improv jam session whose players included Alastair Galbraith, John White, Alan Starrett, & Nigel Bunn as well as myself. many thinks to Alex for the None recording). Sound portraits with a highly localised focus, each event weaves a microscopically attentive, yet nomadically restless non-narrative, its scrutiny infused with the debris of signal, becoming both an aleatory archaeology and a "textual genetics" of radio.
EVENTS' PROGRAM @ KÜNSTLERHAUS STUTTGART ************************ 5. November 2009, 15 Uhr Michael Parsons: "Walk" performance somewhere in the city (precise informations will come later)
5. November 2009, 19 Uhr Keith Rowe: Konzert und Gespräch / at the gallery
7. November 2009, 19 Uhr The Great Learning - Paragraph 7, Dirigent: Jean-Jacques Palix / at the gallery Ekkehard Ehlers: "Innocence" Konzert / at the gallery
ArtistSon Clair Title From the Bridge Duration 15'00 Date of Release 18th August 2009 Format zip · 35.4 MB
From the Bridge is an audio-montage of sounds recorded from the same location over an 18 hour period. The audio material was recorded on 4 separate mono channels and mixed in surround sound for optimum spatial representation.
I am Maria and I co-curated with Tom this year's Noise!I really loved your piece!It was such a unique experience to have telematic performers on the program. On friday we had some friends from Athens (Greece) sending back sound and video...believe it felt really physical to have them in there even though they were miles away...
hey sally... i'm too busy and broke to make it to the ADA symposium, unfortunately. It looks like it should be great weekend though. Heaps of really interesting content. When are you next in chch?
very much enjoying listening to your project. the radio is on my mind. even when off (my mind and radio). even when off. the mind ghost radio, radio ghost mind. listening... between the heterodynes... jeff gburek
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