free103point9 Transmission Artists collaborated with Poish sound artists for this Microradio Sound Walk.

Social Spaces
Tianna Kennedy, Radio Ruido, Kamil Antosiewicz + Dominik Kowalczyk
Tianna Kennedy and Radio Ruido write, "In this performance, we wish to highlight the discursive properties of radio. We encourage, and hope to incorporate site-specific work which explores a phenomenological approach to the 'sound walk,' or work which focus on physicality of the performance area, local histories, idiosyncratic voices, audience interaction/play, storytelling. We especially appreciate work which highlights ways in which the public might, but does not normally engage in place."

Local Frequencies
Tom Roe, Jacek Staniszewski (Facial Index)
Using radios, wireless microphones, cell phones, walkie-talkies, scanners, and other devices, the ìLocal Frequencyî station will feature works that make use of the local airwaves sampling and 'playing' them back.

Environmental Nature
Damian Catera, Arszyn
The environmental/ ambient station, will feature manipulated sounds from the castle space. Within this context, the sound artist is using the castle and it's sounds as source material in the creation of a continual soundscape. Arszyn (Krzysztof Topolski)
Gdansk, Poland
Arszyn (Krzysztof Topolski) is a drummer and sounds artist. He has collaborated with many musicians, music bands and musical projects including RogulusXSzewelas Project, Kobiety, Emiter, M.bunio.S., Mikolaj Trzaska, Tomasz Szwelnik, Muk, Beatrix von Shreader, Hoec, Dj Wojak. He is a cofounder of the band Ludzie (Folks) and Pracowni Ludzie Gdansk (The Folks Workshop). As “Arszyn” Krzystof Topolski’s solo project he has released the recordings Z werszkow pierwszy (the first of werszkow) (nefryt ‘ 02) and Unitas Multiplex (tns rec.rxs/plg rec. ‘ 04) Topolski has performed in numerous festivals and events including Line_in : Line_out, Austria; Wien Modern ’03; Work Overture Synthese, Bourges, France (2002 2004); II Muzyka z Mozgu (the Music of a Brain) Festival, (2002), Bydgoszcz; Have a noise days, (2004), Gdansk; From Gdansk till Down, Contemporary Experimental Music From Eastern Europe, LMJ, MIT, U.S.; Forma Nova, Denmark; Art acts (2002), St. Johann in Tirol, Austria; Marcus Schmickler, DEMOS_the united untitled for 14 vocalists and actors, Bunkier Sztuki (Bunker of Art), Krakow; Warsztat Piezo 2 (Piezo Workshop); Arszyn + Youth Electroacoustic Orchestra + Dj Wojak, CSW Laznia, Bath, Gdansk; Nova Polska (2003), Warszawa; 3 i 4 Meeting of Improvised Music, Gdansk; Artgenda 2002, Hamburg; Unsound Festival (2004), Cracow; New Music for Housewifes CSW Laznia, (2005), Gdansk; Electroacoustic music workshops, Plants, Fruits & Flowers, CSW Laznia’ 2005, Gdansk.

Damian Catera
New York, U.S.
Writes Damian Catera, “My public space sound installation works have generally focused on the musicality of our everyday soundscape, utilizing these sounds as the source material for computer mediated pieces which reorganize these acoustic elements in real-time. Within the context, of the Microradio Sound Walk the members of the public are participants in the construction of the piece; their sounds as well as the sounds of the surrounding environment, are digitally sampled, through a network of hidden wireless microphones, manipulated and collaged in real-time and reintroduced to the listener, in this case, though an FM transmitter and portable headset radio. This results in a new, enhanced, and constantly evolving sound environment, which is site-specific. The practices that I bring to these projects are known as deComposition. deComposition is a process off sonic attrition where sounds are sampled and broken down. New sounds emerge from the destruction, which is chaotic and probabilistic. This is a music of the moment, which is generated and experienced, in real-time. I do not bring any sounds with me, only processes. All sounds are generated by the respective performers or, in the case of the Microradio Sound Walk project, the space itself, and its occupants. Here audio surveillance technology serves a dual function. The use of hidden microphones is an efficient an unobtrusive method of gathering source sounds, yet it also serves as a reflection upon the blurring of the boundaries between public and private space. Implicit, is an exploration of the tension embodied in our need for personal autonomy within a public space. Obviously in the current global political climate, we cannot necessarily assume privacy in a public space, and are becoming increasingly vulnerable to not only the threat of acts of mass destruction but also the mechanisms employed to counter these acts.” Catera has exhibited and performed throughout the United States as well as in Europe and Asia. Recent projects include a multi-channel sound installation realized in collaboration with Christopher Dobrian for the ICMC in Hong Kong (1996); a U.S. tour with KK Null (1999); subsequent European tours (2001, 2002 and 2004); and participation in free103point9’s Radio 4x4 at the Walker Art Center’s R.A.D conference (2004). In 2002, he began incorporating radio into his live performances. A collection of these performances comprise his latest CD Radio deComposition.

Facial Index (Jacek Staniszewski)
Warsaw, Poland
Facial Index (Jacek Staniszewski) is a founding member of the multimedia collective NEUROBOT, and runs the label Polycephal. As Facial Index, Jacek Staniszewski has performed with numerous collaborators including Thomas Ankersmit, Xavier Charles, Jean-Christophe Champs, £ukasz Ciszak, Phil Durrant, David Galbraith, Matthew Hutchinson, Karl Kilian+Lopez Mausere, Martin Koller, K-O-S-Z (Kowalczyk-Olbrych-Staniszewski-Zamojda), Membrana, Molr Drammaz, Robert Piotrowicz, Podletz, Ignaz Schick/Pelonex, Maciek Sienkiewicz, Torben Tilly, Vion, Mathieu Werchowski, Wolfram, and Anna Zaradny.

Tianna Kennedy
New York, U.S.
Writes Tianna Kennedy, “Outside Ujazdowski” has been made specifically with and for this Microradio Sound Walk audience. It is part of the 'social space' station of the walk and is designed to highlight the discursive properties of radio and to explore the semiotics of interactivity or the ways in which sound and place together choreograph interaction. In this piece, together with participants I will experiment with the transmission of sound, music, text, and gesture in the spirit of unitary urbanism, which is the situationist theory that the combined use of art and technology can lead to the integrated construction of an environment dynamically linked to behavioral experiments. Outside Ujazdowski will feature site-specific recordings mixed with live commentary and conversation. The piece will also feature a mini-transmitter for walkers to 'play,' which will facilitate a phenomenological approach to the sound walk. The work focuses on the physicality of the performance area, local histories, idiosyncratic voices, audience interaction/play, storytelling, etc. and seeks to explore ways in which the public might, but does not normally engage in place in an attempt to call attention to the repetitive motions generated by a circumscribed environment. Taking a cue from task-based performance and dance, the piece will include (but will not be limited to) these elements: - Pre-recorded ambient sound from various foriegn locations: bars, bathrooms, music venues, and distant lands punctuated by ambient noise from Ujazdowski - Pre-recorded list of behaviors outside the normal code of behavior for art-event going: for example, instructions for someone within the 'social spaces' signal to single out a fellow participant outside the signal and to wave enthusiastically to him/her or to hop up and down. - two microphones for on the spot story-telling - gathering a collection of impressions/memories of the grounds that may inform behavior of future visits, enhance the presence of the grounds, and facilitate direct interaction between audience and artist. The stories will be archived. - 0.5 watt transmitter for audience members to 'play' so that they might dynamically and directly interact with the piece, and airwaves, themselves. My participatory and collaborative art practice is geared towards highlighting the system of relations in any given situation and placing them in a new order, seeking through words, sounds and deeds to facilitate the creation of a revelatory social/political space inextricably bound up with the uniqueness, plurality and action of the participants. I enjoy making audio work that suggests imaginary territories audiences may physically inhabit and traverse. At very least I hope to engage audiences and engender camaraderie through entertaining and publicly accessible works.” Tianna Kennedy is free103point9 Special Events Coordinator and a founding member of the sound/activist group the August Sound Coalition. She is immersed in numerous bands and collaborations and has found herself on most experimental stages in New York. Her solo work and improvisatory broadcasts primarily focus on the themes: transience, (inter)action, and place.

Mem (Kamil Antosiewicz)
Warsaw, Poland
Mem (Kamil Antosiewicz) is a composer and improviser utilizing acoustic samples in tandem with computer generated modification processes. He was a founding member of the field recordings-electroacustic improv trio EA. Mem has performed at numerous international festivals and released recordings on labels including Alluvial, Open Circuit/Staalplaat, Ignis Projekt, Drone Records, Mystery Sea, and Humbug among others. As a founding member of Center for New Forms Salvia, Antosiewicz organizes Alt+F4 Festival, a yearly feast for electronic music fans.

Radio Ruido (Tom Mulligan)
New York, U.S.
Radio Ruido is the nom de guerre of Brooklyn artist Thomas Mulligan. In addition to transmitting experimental sound work with free103point9, he has performed live with the audio-visual collective Dimmer and designed sound for the bilingual performance group Teatro Chinampa. He has recently exhibited at Deitch Projects and Participant, Inc. in New York, and at the Contemporary Museum in Baltimore, Maryland. About his project for Microradio Sound Walk, titled The Numbers: a radio piece for 1 to infinite voices, Mulligan Writes, "In order to create a musical network consisting solely of spoken numbers, The Numbers attempts to overcome the problem of translation by presenting a multilingual participatory game. Language games are easy to grasp but difficult to explain. We participate in them everyday at various levels of complexity. This piece is a simple system presented as a game. A system of spoken numbers. The international nature of radio inherently raises the issue of translation. By playing The Numbers a network of voices is created. This network implores multiple voices in multiple languages to coexist. Narrative is challenged by the chance shuffling of the system. 'The Number' disputes the traditional sense of time in music. Unanticipated system noise is expected and employed. This game is a reflection of the space between meaning and message. The irony of history is not absent. The audience plays a crucial role where the 'non-trained' musician’s voice is transformed into music and the conventional roles of audience and performer are given new meaning through public participation. In The Numbers all voices are welcome and all languages are spoken. The briefest utterances...a system of noise...transmission”

Tom Roe
New York, U.S.
Tom Roe integrates local transmissions with samples and electronics to create sound performances that are also broadcasts of some sort, whether on temporary FM radio stations, or worldwide internet webcasts. Using radios, wireless microphones, cell phones, walkie-talkies, scanners, and other transmission mediums, Roe takes the wireless, "silent" sounds all around audiences, and transforms the local frequencies into soundscapes. He combines these transmissions with other samples -- often pop songs with transmission themes to create something that simultaneously sounds like it came from the radio, but would not be played by most radio stations. Roe’s work comments on what public frequencies do contain, and what they could contain, and hopes to engage audiences in this dialogue. "The public owns the airwaves, they are a shared natural resource," Roe writes. "Unfortunately, in the United States and many other countries, the public does not have access to its own airwaves." He sometimes demonstrates this by wandering among audiences, engaging them with a walkie-talkie, so they too may take part in the temporary broadcasts. "These performances become models of what the airwaves could be, or temporary autonomous zones away from government restrictions." Roe co-founded microradio stations 87X in Tampa, FL and free103point9 in Brooklyn, NY. He has performed extensively in New York at venues including Art in General, Anthology Film Archives, Flux Factory, OfficeOps, and The Kitchen, among many others. Recent performances and exhibitions outside of New York include The Palm Beach Institute of Contemporary Art, Florida; The Santa Fe Art Institute, New Mexico; The Walker Art Center, Minnesota; and the Gwangju Biennale in South Korea. Roe’s “Breakdown” was released as a split 7” with Anotha Forma Foma as part of free103point9’s Dispatch Series in 2003.

WOLFRAM (Dominik Kowalczyk)
Warsaw, Poland
Schooled in sociology and informatics, Wolfram (Dominik Kowalczyk) began his creative practice in the late 1980s making posters, graffiti, zines, and abstract drawings and paintings. Kowalczyk began experimenting with sound in the early 1990s. With “tools” including two cassette recorders, a mono microphone, a Boss delay pedal, a Roland TR-505 and a Casio SK-1 mini keyboard he produced sprawling electronic tracks, which he humorously describes as “optomistc Sci-fi.” Since these exploratory times, Dominik Kowalczyk’s work has developed both technically and conceptually. His recent projects released under his pseudonym “Wolfram,” reflect an interest in narrative structure within ambient assemblages of noise, urban field recordings, clicks, and pops.

Organized by CCA curator, Lukasz Ronduda; free103point9 Executive Director, Galen Joseph-Hunter; and participating artists Damian Catera, Tianna Kennedy, Radio Ruio, and Tom Roe. Supported in part by CEC ArtsLink.