theradius on 12/31/2013 at 03:29PM
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 04: Landscape
Rise & Shine is the result of an improvisation session in the morning, when ears are fresh and most sensitive to stimuli. Using a set of graphic index cards, designed by Boston-based movement artist Joe Burgio, as compositional material to guide their improvisation, Mouchous and Cornell convened in the live broadcast studio of CKUT 90.3FM in Montreal to lay the groundwork for the piece.
The piece responds to the clarity of local signals in Montreal that are obscured in areas directly adjacent to the main radio tower transmitter site atop Mount-Royal. The areas situated in the shadow of the mountain, where there are no sight-lines to the tower, have poor reception because the signal must pass though the ground to reach the receivers. The signal is only received in mono and occasionally cuts out intermittently for indeterminate periods of time.
Site: Argantek Industrial State, AIII Motorway, km 23, MAD ESP.
A landscape of scrapheap hills, rusty heavy-duty machinery, abandoned building sites sheltering engine cults’ followers. A constant metallic buzzing interferes with encoded technical transmissions and radio spectrum “white spaces” while, high above, floats a chaos of frequencies. Two short wave radio broadcasters establish contact through these airwaves, their dialogue sent back to the listeners of the area who are unaware of such free-form vibrations coming from their speakers. Read more.
Part sound art exercise, part mix tape, and part travelogue, Stateless takes its name from one interpretation of the Arabic and Persian word bidoun. Used literally, bidoun means “without”; however, bidoun can also used to describe a population that is unrecognized by the country it inhabits and so is therefore stateless. It is estimated that the United Arab Emirates is home to around 100,000 bidoun.
Made using found sounds including field recordings made in the UAE, Berlin, Thailand, Istanbul, and Laos, Stateless is a reflection on itinerancy and political migration. Interrupting the field recordings is a section that seems to consists of scrolling through the radio in the UAE. The sounds of the West come through in the advertisements, voices, news stories, and music, pointing to the changes taking place in the UAE with the influx of development. The juxtaposition of the radio scroll and the more specifically Arabic field recordings illuminates the unrecognized bidoun that inhabit the changing political and cultural landscape of the UAE.