Part 1
SPAWNING IN THE NAME OF by Meira Asher and Maya Dunietz
While planning to meet for a 24hrs. radiophrenia session, we managed to relaunch, yet again, our elemental theme, with which we are engaged during 2017-2018, namely, the Israeli colonisation and occupation of Palestine for 70 years. We discuss Maya’s new piece “18 Songs” for Choir and ensemble in the Arabic language, a language which is officially excluded by the Israeli State, of which its texture is systematically used to distance, separate and scare the Israeli population although being the mother tongue of 21% of its’ citizens. “I innocently believe that through the work of music, choir members in Israel will get the chance to initiate and embrace the Arabic language, a Semitic sister of their own language… “  Meira’s “The Last shall be First” Sound-Text act, together with artist Eran Sachs, has just returned from its 2nd trial at HearSay Audio festival in Ireland. “Dissecting Fanon’s words on our Israeli Colonial bloody sound altar is another ambiguous issue to explore…”   We play parts of the projects, discuss them, and knead together some specific materials from them. Commissioned by Radiophrenia 2017.
Maya Dunietz
Maya Dunietz is a composer, performer and sound artist performing internationally for the past 20 years. Her work is always site specific and performance based, investigating various interconnections between music, visual art, performance, technological research and philosophy. Her works are commissioned by renowned performers and ensembles and she has created sound performance works for institutions such as Palais de Tokyo Paris, Arnolfini Gallery Bristol, Reykjavik Arts festival and many more. Maya holds workshops for experiments in group singing in various venues around the world, workshops this year are held in Paris and USA. Maya is currently composing a new piece for ensemble and choir to be premiered in December2017, creating a new performance project in collaboration with light artist Jacki Shemesh and researching for her next sound installation, Root Of Two.  http://www.mayadunietz.com
Meira Asher
The research areas of composer-performer Meira Asher include Social Documentary and the Amplification of the Human Body. She is a lecturer at Haifa University’s Art School and producer of the weekly Radio Art show radioart106fm on Kol HaCampus Tel Aviv between 2014-2017, now starting a monthly transmission at Radio Campus Bruxelles. Her recent works include "Voices vs. The Israeli Occupation of Palestine 2017” for Wurfsendung Deutchlandfunk Kultur, and the site-specific sound work “Still Sleeping” commissioned by EyeBeam (New York) for Acoustic Infrastructure, also nominated to the Grand Prix Nova 2017. Meira has collaborated with Eran Sachs in the Asher-Zax duo since 2012. With their electroacoustic setups, they carry texts by Artaud, Fanon, Wilfred Owen, and more, to new extremes. She is currently finalising a recorded Hebrew version of Antonin Artaud’s radio play “To Have Done with the Judgement of God” (1947). http://www.meiraasher.net

Part 2
HOLDING ONTO THE WILL and THE WALLS OF THE TANK by Dirar Kalash
Holding onto the Will
The first half of the “Holding onto the will // wily dancing with twenty one passing winds” project. A no-input-mixer piece, mostly improvised, but with a direction in mind, moving from ambient drone sounds to harsher sounds, not simply as an attempt to structure a certain form, but rather as a focus on content an expression which are essentially poetic, as the starting point for the work was the title as a poetic expression that gravitates close to a human gesture. However, the choice of a no-input mixer setup, as a purely machinic-electronic setup, which essentially contrasts a human gesture with a machinic one, came out of the need of a live and interactive setup that could allow a variety of sounds and noises which could be approached as raw and primal, however commonly heard as “feedback noises”, yet they allow for a particular tension that constitutes a creative framework which is able to merge experiment with experience, due to the unexpected “feedback based” nature of this setup, the choice of such musical and sonic tools also raises questions on the possibilities of sonic and and poetic condensation.
جدران الخزان (إلى غسان كنفاني) - The Walls of The Tank (To Gh K)
A piece from كالقابض على الجمر - Like Holding Onto Hot Coal piano album, released November 3, 2017.
Dirar Kalash
Dirar Kalash is a musician and sound artist whose work spans a wide range of musical and sonic practices within a variety of compositional and improvisational contexts. His performative and compositional approaches to instruments, techniques, and aesthetics are highly political as they challenge dichotomies, hierarchies, and binary logics of new/old and west/east as tools of cultural imperialism and hegemony. The methods he uses are based upon his research into the intersections and relationships of music and sound with other contexts such as language, architecture, mathematics, visual arts and further social and human sciences. His regular solo and collaborative performances include but are not limited to audio-visual performances, free jazz groups, string ensembles, solo piano, and live electronics. https://albayan.bandcamp.com