Radia: Subaudible Phonography from the Archives of Christopher DeLaurenti
90.7-FM in NY's Upper Hudson Valley and wgxc.org/listen everywhere
wavefarm.org/listen and 1620-AM at Wave Farm
Produced by a different "Radia" station each week.
For the current Wave Farm edition of Radia, guest artists Christopher DeLaurenti writes, "Phonography has been sometimes been defined as “creative field recording,” taking and placing microphones out into the world in unusual ways and unexpected places. In this program phonographer Christopher DeLaurenti presents several specimens of subaudible phonography - field recordings from outside the realm of human hearing.
This program features four examples. “Below the written pitches of Brian Ferneyhough’s ‘Superscriptio’ for solo piccolo” spectrally extracts sound beneath the written pitches of Brian Ferneyhough’s “Superscriptio” to reveal recording anomalies, latent undertones, and mechanical noises. It’s akin to hearing the piece through a hydrophone.
In “Silences normalized from the complete organ works of Olivier Messiaen (part 1)” I amplified room tone to reveal the inner workings of an organ and its environment, including residual tones, traffic, stray speech, and tiny electrical anomalies.
The third example is an odd specimen of radio transmission—a rarity for its length and depth of activity: “Open Carrier, Citywide One Manhattan.”
In the United States, an “open carrier” is police parlance for a radio that has been inadvertently left on in Talk/Transmit mode. An open carrier stalls and paralyses broadcast traffic, leaving so-called “dead air” to reveal sudden gaps, smudges of hiss, gently swaying drones, beeping alerts, fragmented words, quick phrases, recessed conversations, and other unexpected artifacts. It’s like butt-dialing everyone who is listening to the radio. I recorded this example by accident in 2004 during the protest against then-president George W. Bush and the Republican National Convention in New York.
The final example is an excerpt from “of silences intemporally sung: Luigi Nono’s Fragmente-Stille, an Diotima.” Here, I have inverted Nono’s only string quartet by muting the audible passages played by a string quartet. Then I elevated room tone, discreet ambiance, and other assumed silences above the threshold of audibility. You will hear on-the-fly tunings, annunciatory gasps, hurried breaths, sul ponticello bowings, and creaking chairs; these eruptions and outcries fuse with flickers of ambient sound. You might also hear artifacts of the recording process, especially digital glitches and artificial echo. Visit delaurenti.net for more about Christopher DeLaurenti and subaudible phonography."
Each week one member of the Radia Network produce a show for all the others. The Radia Network emerged from a series of meetings, clandestine events, late-night club discussions and a lot of email exchanges between cultural radio producers across Europe. The topics vary and the reasons for forming a network are many, but Radia has become a concrete manifestation of the desire to use radio as an art form. The approaches differ, as do the local contexts; from commissioned radio art works to struggles for frequencies to copyright concerns, all the radios share the goal of an audio space where something different can happen. That different is also a form in the making – radio sounds different in each city, on each frequency. Taking radio as an art form, claiming that space for creative production in the mediascape and cracking apart the notion of radio is what Radia does.
It is producing radio stuff that is hard to describe. Some of it can be labeled radio art, or experimental radio, or creative radio. Sometimes it talks, sometimes it doesn’t. It can be noisy, or a kind of soundscape, or a documentary, a document, a talk, a performance. Each and every week, one of the partners will provide the network program, commissioned and produced especially for this purpose: being broadcast by all the partners and made available online.Some things have to be said about all those partners. They are radio stations, of the independent, non-commercial, community, cultural species. They all speak different languages, and this should create interesting problems. Although initially they were all European radio stations this has changed over time and Radia has become not only larger but also more diverse: 17 partners in nine countries and growing all the time.
* Campus Paris (Paris, FR)
* CFRC 101.9 FM (Kingston, CA)
* CKUT (Montréal, CA)
* JET FM (Nantes, FR)
* Kanal 103 (Skopje, MK)
* Orange 94.0 (Vienna, AT)
* Radio Campus (Brussels, BE)
* Radio Corax (Halle, DE)
* Radio Grenouille (Marseille, FR)
* Radio Helsinki (Graz, AT)
* Radio Nova (Oslo, NO)
* Radio One 91 FM (Dunedin, NZ)
* Radio Panik (Brussels, BE)
* Radio Papesse (Firenze, IT)
* Radio Student (Ljubljana, SI)
* radio x (Frankfurt/Main, DE)
* Rádio Zero (Lisboa, PT)
* RadioWORM (Rotterdam, NL)
* Reboot.fm (Berlin, DE)
* Resonance FM (London, UK)
* Soundart Radio (Dartington, UK)
* TEA FM (Zaragoza, ES)
* Wave Farm WGXC 90.7-FM (New York, USA)
* XL Air (Brussels, BE)
* Kunstradio (Vienna, AT) More information at http://radia.fm