TRANSMISSION ART ARCHIVE
Tuning the World
DinahBird and Jean-Philippe Renoult Wave Farm Residency Broadcast Instruments: Jun 08, 2018
DinahBird and Jean-Philippe Renoult Wave Farm Residency Rehearsal with M49 and Radio: Jun 11, 2018
Boombox at the M49 Facility As Part of DinahBird and Jean-Philippe Renoult's Wave Farm Residency Broadcast "Tuning the World": Jun 08, 2018
DinahBird Adjusting Radio for Wave Farm Residency Broadcast "Tuning the World": Jun 08, 2018
DinahBird and Jean-Philippe in the M49 Facility Preparing for their "Tuning the World" Broadcast at Wave Farm Residency: Jun 08, 2018
DinahBird and Jean-Philippe Renoult Perfoming in Emergency Reflective Ponchos as Part of Their Wave Farm Residency Broadcast "Tuning the World": Jun 08, 2018
DinahBird and Jean-Philippe Renoult Perfoming in Emergency Reflective Ponchos as Part of Their Wave Farm Residency Broadcast "Tuning the World": Jun 08, 2018
DinahBird and Jean-Philippe Renoult Preparing for Their Wave Farm Residency Broadcast: Jun 08, 2018
DinahBird and Jean-Philippe Renoult Preparing for Their Wave Farm Residency Broadcast : Jun 08, 2018
DinahBird and Jean-Philippe Renoult Preparing for Their Wave Farm Residency Broadcast : Jun 08, 2018
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"Tuning the World" is a series of outdoor broadcasts, an active approach to field recording and listening where live sonic drones are transmitted back into the soundscape. Jean-Philippe plays a shruti box, a Northern Indian portable instrument, cousin to the harmonium, while Dinah “actively” records the process, moving back and forth between the environmental sounds such as water, wind and birds and the transmitted sound. Dinah will also play single notes and tuneless human hums, inspired by the local electromagnetic environment, via small FM radios. The aim is not to dominate or disturb, but rather more to observe how the landscape responds to the artists’ emissions. Inspired by the ideas and methods of R Murray Schafer, his theories on soundscape, and his concept of “wilderness radio,” where the “unneventful events of the natural soundscape transmitted without editing into the hearts of cities” (Radical Radio -1987) as well as Pauline Oliveros’ practice of Deep Listening, DinahBird and Jean-Philippe have developed our own “active” listening and recording posture in order to play with the surrounding natural landscape, softly and quietly, and at varying distances from the microphones that document their actions.