theradius on 08/05/2013 at 09:33AM
PATCH is a series of curated playlists selected from the Radius episode archive. Each playlist is organized around a specific topic or theme that engages the tonal and public spaces of the electromagnetic spectrum. PATCH serves as a platform to illuminate the questions, concerns, and complexities of and within radio-based art practices.
PATCH 02: Memory
Seventy Seconds is Harold Schellinx’s sound diary for the year 2011, a prime year. Schellinx recorded 10 seconds of sound each day of the year at various times of day. The ensuing avalanche of sounds, extracted from Schellinx’s private soundscape, mirrors the relentless passing of time. The sounds captured are often highly personal, but due to their briefness, remain abstract.
Seventy Seconds follows and documents the lines of (unfinished) drama and euphoria, hopes and fears, as they continue to unfold. In that sense, Seventy Seconds truly is a diary. It also is simply a work made out of sound, the “intangible and uncanny ghost that always travels half a mile ahead of its own shape" (William Faulkner, Light in August, 1932).
Continuing the species of spaces series of programs which spatially sonifies gallery spaces via small-scale transmission, Radio Cegeste set up a mini FM radio programme after midnight in the empty room of artist-run space Rice And Beans, run throughout 2011 by a small collective in the inner city of Dunedin, New Zealand, on the final day of the space’s lease.
As a site-specific, spectator-less, solo performance, dear friends who have died are all talking to me tonight / all at once re-constructs and re-imagines personal and public memory through the medium of transmission, as an appropriate framework for uncertain, shifting structural and social realities. Small clusters of radio receivers, constantly shifted around the space, pick up the signal from a stationary mini FM transmitter. These receivers also engage with each other, chattering and heterodyning, becoming analogous to groups of people talking, and the social space of a gallery opening. Such chatter interjects the night airwaves of Dunedin, full of noise, clashing frequencies, and etheric vocal infiltrations, into what is usually perceived as the bounded space, silence and temporal amnesia of the ‘white cube’. Read More
Memory fades. Memory fails. The act of observing a thing changes it. Recordings of a piece rarely sounds like the piece performed. Focus changes, different aspects rise to the fore.
Radial Variations is a collection of thirteen reinterpretations of a piece J. Soliday performed at the former Enemy performance space on July 20th, 2012 in Chicago. Line and room recordings of the performance were sped up, slowed down, chopped, looped, replayed, and reprocessed through the system in which they were originally generated. The resulting works should not be considered definitive versions, neither individually nor as a whole, but merely as windows into an ongoing continuum.