RADIO WORKS

CHAUD POUR LE MONT-STONE : RADIO ART PERFORMANCES

Since 1994, CHAUD POUR LE MONT-STONE has served as a sound laboratory where everything happens live.  It is pure live radio - nothing hidden, anything goes.  Host Martine H. Crispo jams solo or with invited guests, using any and all objects at hand + analogue and digital machines, homemade circuits, radios and microphones from the broadcast studio.

CHAUD POUR LE MONT-STONE streams live every other Thursday 9pm -11pm on CKUT 90.3FM in Montreal. http://www.ckut.ca/

LISTEN :

CHAUD POUR LE MONT-STONE 29 sept 2011
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CHAUD POUR LE MONT-STONE 19 mai 2011 (exerpts)
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CHAUD POUR LE MONT-STONE 28 avril 2011
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Original website: http://macaronimusic.com/CHAUD.html

CURATED BY Anna Friz
BROADCASTING Kunstradio, Austria
LISTEN : http://www.kunstradio.at/2011A/21_08_11en.html

Focus on Canadian radio art in summer 2011, Kunstradio invited the artist Anna Friz to compile an overview of new productions and projects. This is what she has come up with:

A  Sampler of Recent Canadian Radio Art

“It would be foolish to try to make many definitive statements about contemporary Canadian radio art, but it is fair to say that most radio art in Canada happens on independent or improvised airwaves. Public radio offers few corners for unfettered artistic expression, but a healthy campus/community radio sector (meaning: independent, not-for-profit, listener-supported, volunteer programmed radio) allows for all sorts of shenanigans in the studio, late at night or in the middle of the day.

Independent stations in Montreal, Kingston, Winnipeg, Vancouver, and other cities are regular participants in Art’s Birthday and the Eternal Network, often partnering with artist-run centres, and provide fertile ground for experiments by emerging and established artists alike. Artists have been pulling radio out of the studio and into more intimate venues as well, using small circuits and transmitters to occupy the airwaves however temporarily.

Most of the artists in this program have spent significant time in independent radio stations making interesting sounds (with the exception of s*, who has only recently arrived on the planet, but who was drawn down to Earth during a meteorite shower when it was mesmerized by the forward scatter of radio signals). Two of the works were created live on air, while the others are deeply informed by radiophony as bodily experience, or as metaphor. Electricity is channelled as transmissions banal and transcendent are sought; bodies are encountered, voices resound.”

(Anna Friz)

SIMULCAST 1.0b : SASKATOON
CURATED BY Emmanuel Madan
BROADCASTING free103point9 Online Radio, New York
In collaboration with Paved Art

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, “Simulcast 1.0b : Saskatoon” proposes to renew radio’s link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org.

“Simulcast 1.0b : Saskatoon” is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio on April 1 - 28 2008.

http://www.free103point9.org/events/1911

Schedule:
Martine H. Crispo (Montréal) “Danby;” April 1 to 7, midnight to sunrise.
“Danby” is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. “Danby” transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners’ homes, “Danby” creates unpredictable variations and harmonies - a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) “Big Time Crash Bang 2008;” April 7 to 14, sunset to sunrise.

“In the 1980’s, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For “Simulcast 1.0b : Saskatoon,” I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine,” wrote Jupitter-Larsen.

Magali Babin (Montréal) “7 nuits sous le Westinghouse;” April 15 to 21, midnight to 6:36 a.m.
“This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. “7 nuits sous le Westinghouse” is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity,” wrote Babin.

Harold Schellinx (Paris/Amsterdam) “Tot morgen (à demain);” April 21 to 28, sunset to sunrise.
In “Tot morgen (à demain)” a chord consisting in two tritones (‘diaboli in musica’) that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next… “until, again, the roar of dawn.” (In the first measure of Stockhausen’s “Klavierstueck IX,” the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) “…tezelfder tijd duizend duivels van beneden en van boven duizend goden …” - a thousand demons from below and from above a thousand gods [ Tip Marugg - De morgen loeit weer aan (The roar of morning), 1988 ].

                                                                                                                                                                                                                                                                             

RADIOTOPIA: A collaborative networked radio-art project
Ars Electronica Festival | Ö1 Kunstradio

http://www.kunstradio.at/RADIOTOPIA/

Artists of the early 20th Century avant garde, in their poetic manifestoes and utopian texts, sought to understand radio, with all its potentials and distortions, as a free and universal space of wireless communication. Radio, as the most accessible of modern media, has continued to hold a fascination for artists, writers and composers, especially those concerned with the social and cultural impact of new communication technologies. In an era of intensive corporate globalization, an alternative kind of globalization must be considered: that of communities and artists communicating across borders with the intent not to dominate or extract profit, but to share information, reaffirm community, question the status quo, present alternative views, and continually experiment with the medium. The project:

On the occasion of the ARS ELECTRONICA FESTIVAL 2002 and its on site-on line project OPEN AIR - A RADIOTOPIA, KUNSTRADIO offered to organise a networked on air-on line radio-art-part for the RADIOTOPIA -project.

Around a 6 hour live LONG NIGHT OF RADIO ART produced by Kunstradio on Sept 10th/11th, a network of international nodes produce their own live events while others (artistsgroups, radiostations and individual artists) deliver prerecorded projects and contributions into the network.

RADIOTOPIA - on air - on line has called for a strong vocal component, as well as soundscapes urban, rural, political, and personal, in order to transmit a sense of the particular among the many diverse cultural contexts that will be included.

The project’s use of communications media follows the exchange-based traditions of mail art, telephone music, earlier collaborative on air-on line-radio-art projects as well as the strategies of contemporary “acoustonauts” who link old media such as Shortwave, Mediumwave, VHF, Mini FM etc. with the Internet.

October 2010 _ The Montreal Sessions _ CKUT-FM 90.3

Chantale Laplante is producing and hosting of four Tuesday editions of the program: music/art performance /live improvisation.

LISTEN : Esclandres Montrealaises - Chantale Laplante & Martine H. Crispo