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((o)) radiator x – 120906 – summer night dreams (I)

rxl_k.gifsummer night dreams (I) radia #383: dreams for delia + radia #256: the nocturnal state of the city

summer night dreams. sent into the ether.


[[:]] Datscha-Radio: Auf Wiederhören! | Hear you again!

Datscha-Radio: Auf Wiederhören! | Hear you again!

How fast a week can pass by! Datscha-Radio has broadcasted for seven days and nights from the Garden – with a considerable number of live concerts, performances and talks with artists, musicians and gardeners, with readings, sound art, music programmes and garden ghost hours about and around gardens, gardening and everything you can find, encounter and/or dream of in a garden.
Great many thanks to everybody!


((o)) Datscha-Radio: Elektronische Garten-Teestunde | Electronic Garden Teatime

Elektronische Garten-Teestunde | Electronic Garden Teatime

The night owls have shifted (in)to morning birds. A gentle wind is shaking the trees, the dew of dreams drying from the leaves. The garden is awake. But what if the delicate spider's web knitted from memories of the silence passed is still floating over the seedbeds?

Time for a cup of tea. Let us enjoy it together, while the spider's web is carried away by the wind, towards the fields stretching far out behind the garden…

A tea time in the garden, served around the "Elektronik Teatime" from garden to garden, arranged and produced by Lale Rodgarkia-Dara and her friends – originally conceived as a live stream sound performance from the Vienna Film Archive's garden in Vienna-Augarten to the Datscha-Garden in Berlin-Rosenthal.


((o)) Datscha-Radio: Die Gärten der Riesen | Giants' Gardens

Die Gärten der Riesen | Giants' Gardens

In the giants' gardens is growing another time. A time of which we do not know. As probably men never will. For sure not those who claim them for their own…

A sound walk through (in)visble gardens, along the fences and walls hiding the giants' gardens.

The starting point for the walk is a text originally written during my research within the TIME INVENTORS' KABINET (TIK)* ("Die Gärten der Riesen"), published in the TIK book about "Gstettn" (Graz 2011). A first version has been broadcasted as part of GUNSTradio's TIME BENDING CLOCK RADIO series in June 2012.

For Datscha-Radio's* Morning Field a new version has been created, shifting the garden walk towards an imaginary morning hour.

miss.gunst and her inverse rabbit would like to thank the following artists and sound collectors:
alchemical for listening to countryside early morning hours; dobroide and acclivity for roosters and their kikeriki;
inchadney for a garden with birds and bees; dr doom and kyster for even more birds; soundbytes for a garden warbler; sonsdebarcelona for filling the pond and benboncan for listening to the frogs; offthesky for his windchimes; digifish for walking the paths. Very special thanks to tk for joining the production;t he TIK collective, especially Reni Hofmüller and the Graz Gstettn team for inspiring dicussions; and Oscar Wilde for his wonderful fairy tale that was the first seed for the musings about giant's gardens.

* Hyperlinks auf externe Webseiten sollten in einem eigenen Browser-Fenster öffnen. Mehr zu diesem Thema im disclaimer des www.kuniver.se. | Hyperlinks to external webpages should open in a separate window of your browser. Pls. see the disclaimer of www.kuniver.se in case.

[Bildchen | Picture: Die Mauer | The Wall. VK cc-by-nc-sa]

((o)) radiator x – 120712 – abstract landscapes

rxl_k.gifabstract landscapes radia #375 DNT GVP + radia #193: the military landscape show

abstract landscapes. made concrete. with sound.

first we'll follow neven lochhead from the arctic to italy:

"'DNT GVP' is a composition by experimental musician and filmmaker Neven Lochhead, who is based out of Kingston, Ontario. Like much of Neven’s recent work, DNT GVP concerns itself with abstraction and experience of space. Clean guitar tones are played while sounds of Pond Inlet, Nunavut, a small hamlet in the arctic, surface to the ears between rests. A slight echo is applied to the sounds of the town, immediately informing that the sound is an abstraction. A complete and pure representation is always abstracted by the appearance of added audio. The landscape fades in and out of conscious listening. Later in the piece, a recording from an Italian language tape fades in, first appearing as part of the landscape itself – a distant radio playing through someone’s kitchen window. The sound of the tape increases, thickens and engulfs the impossible soundscape." [C.FR.]

afterwards, we'll listen another time to radio zero's 'military landscape show' researching the resonant space of former and current camps and training areas. curated and produced by Jay Needham (wavespace.org), with pieces by…

… Richard Lerman (sonicjourneys.com):

Aleutian Internment – Inside a hunting dwelling on the Pribilof Islands in the Bering Sea (amplified whale bone, grass, rain, wild celery and a wind harp) Funter Bay Internment camp (slats of the goldmine camp building where they were interned, windharp, rain) Windharp and weeds at a Cemetery across from the Internment camp at Funter BaySeals on St Paul Island, the Pribilofs Ugadaga Bay, looking towards Biorka Island and an Iris in the wind and snow, recorded on Unalaska Islan. (01) Trinity Site – Trinity Site, near Alamagordo, NM, was recorded in April 1997. Two times a year, the site where the first atomic bomb was tested, is opened up to visitors and many hundreds of people attend. I began recording from the car as I entered the military check point. Later, I recorded sounds from piezo disks attached to glass pieces that I placed into the earth. Also heard are sounds recorded from the fence surrounding ground zero and amplified, grass, weeks and footsteps of persons at the site. (03)

… and Louise K. Wilson (www.lincoln.ac.uk/lsad/staff_pt/l_wilson.htm):

Black Beacon Receiver mix – Mixed-down version of the seven soundscapes produced for "Black Beacon Receiver". From A Record of Fear. (02) Unamplified choir. Sine oscillator (composer: Yannais Kyriakides) – a specially composed piece for Exmoor Singers, made for temporary installation in Lab 5 at Orford Ness. (04) Recorded at Lansdowne Studios, London on August 7, 2005. Music Director: James Jarvis; Producer Clarissa Farran.

miss.gunst would like to thank the following artists and sound collectors:
jovica for the space machine, corsica s for some beautiful radiator sounds;
neven lochhead and radio cfrm, ontario, for abstractions of concrete landscapes and concretions of abstract landscapes;
jay needham and radio zero, lissabon, for making us familiar with louise k. wilson's and richard lerman's sonic visions of military landscapes;
as well as radia.fm radio art network for being a crowd of incredibly creative partners.

((o)) GUNSTradio – 15.06.2012 – die gärten der riesen | giants' gardens

lgb-gtik.gifdie gärten der riesen | giant's gardens

In the giants' gardens is growing another time. A time of which we do not know. As probably men never will. For sure not those who claim them for their own…


((o)) radiator x – 120614 – ex sonification

rxl_k.gifex sonification radia #372 sound within sound + radia #301 resonant space

sonic experiments. (with)in sound. in space. in sounding spaces.

first with andrea jane cornell who inivites us to think about the way radio is being created within radio:

"Radio is created where radio is listened to. Ckut’s Andrea Jane Cornell takes the listener out of conventional listening spaces and ways of thinking about hearing and listening. Using our on air broadcasting studio with its equipment as a complex musical instrument, she brings us
sound within sound." [RCK]

afterwards, david strang is another time experimenting with sound (with)in space in a former wind channel:

"This work is a sonic representation of the space Q121. A space built and designed for the most efficient flow of air at speeds of up to 150 mph. The site was specifically chosen since the movement of air is a form of sound. […] Q121 was decommissioned in 1996 and has sat unused, dark and silent for more than a decade. Built in 1935 it was used in a wide variety of tests on structures such as, propellers, helicopter rotors and architectural features.
The method for creating and collecting the sound refers back to Alvin Lucier's 'I am sitting in a room' (1969). Inside Q121 a recording was made. This recording was then played back into Q121whilst being recorded again. As this cycle was repeated the layers of air became denser until, slowly, the space began to reveal a drone with various overtones determined by the physical dimensions of Q121." [D.S.]

find out more about david strang at www.davidstrang.co.uk
his radia show is based on his sound installation "resonant space", see: www.davidstrang.co.uk/resonantspace.htm

miss.gunst would like to thank the following artists and sound collectors:
jovica for the space machine, corsica s for some beautiful radiator sounds;
andrea jane cornell and radio ckut, montréal, for making us listen to radio within radio;
david strang and soundart radio, dartington, for sending us through the wind channel;
as well as radia.fm radio art network for being a crowd of incredibly creative partners.

[[o]] GUNSTprojekt: WINDTIME von | by TIME BENDING CLOCK RADIO (radia #371)


windtime. another time taking up the task to search for n other time.


((o)) radiator x – 120412 – (un)homely nights

rxl_k.gif(un)homely nights radia #364 suite 106 + radia #256 the nocturnal state of the city

at night, not only the sight is changing. so are the sounds. what used to be familiar may become strange. (un)homely or not? that's difficult to decide. however, we'll listen…

in the first part of the show, we'll spend a night with gonçalo alegria in a hotel suite – in lisbon or elsewhere? all we know is the room number, 106:

"This piece is made in a specific environment, in an hotel room, with a set of actions, being in a place and enjoying its monotonous nature. Hotel rooms are not about being productive, they are made to numb you and force you to rest. Because I travel a lot, and spending time alone inside this type of rooms and out of boringness I started playing with it. The room itself becomes something new, something that I can relate to. This kind of set up consists of working with what you have available with you, for an invisible performance where you play with sound and situation. Materials used: double-bass bow, paper tape, bathroom, exhauster, glass, mineral water, effervescent aspirin, tv set, shower doors, digital recorder Tascam DR-100, headphones, water tap, ac unit, room phone and mobile phone. The same kind of thing can be done inside the train toilet, but it is riskier to set the recording gear and perform at the same time." [G.A.]

afterwards, we'll visit dimitar dodovski in skopje who listened to the silent streets, to sleeping machines and dreaming apparatuses in his house:

"this piece of radia composition is made of lofi noises, crackles and subtle dubscapes which from the artist's view depict the nocturnal state of the city. inside the house where hums and noises from electronic appliances are generated and outside where distant sounds occupy space, reverbed voices from insomniacs, lovers and lonesome whistlers fill in the silence."[d.d.]

miss.gunst would like to thank the following artists and sound collectors:
jovica for the space machine, corsica s for some beautiful radiator sounds;
gonçalo alegria and radio zero, lisbon, for a nightly visit to suite 106;
dimitar dodovski and kanal103, skopje, for a night in the city;
as well as radia.fm radio art network for being a crowd of incredibly creative partners.

((o)) radiator x – 120328 – sailing away

rxl_k.gifsailing away radia #362 le voyage loin + radia #233 why don't you go home

sailing the oceans. far away. and perhaps: without return.

in the first part of the show we're invited by meryll hardt to a sailing trip letting us float over unknown oceans:

"Playlist: Anvers exotique (soundscape) – A life on the Ocean Waves -Etoile Morte – Fascination – Lichtspiel – La dérive d’Ophelia – Genetic Catwalk. All compositions by Meryll Hardt, except 'A life on the Ocean waves' (Henry Russell, 1833) and 'Fascination' (Marquetti, 1932)
All productions by Meryll Hardt, except 'Fascination', played by Joe Loss and his Orchestra, lyrics and interpretation from Meryll Hardt.
She defines herself as a fluid, whose energy collapses with any moving medium.
Fake harmony, predictable confusion, falling and laughing are her connexion to a larger thinking on art itself.
When an egg cutter becomes a gamelan, when the docks of Antwerp sound like africa, Meryll Hardt is travelling for us. Far away, so close." [m.h./r.c.]

afterwards, we'll listen for another time to the story of a voyage without return:

"Donald Crowhurst set sail from Teignmouth, South Devon UK, in the autumn of 1968 on a non-stop round-the-world sailing race in his trimaran 'Teignmouth Electron'. One of nine competitors, Crowhurst saw his initial high hopes for fame and glory dashed when lack of time, a poorly equipped boat and inexperience all conspired against him. With the realisation that neither he nor the boat were up to the trip came desperation, which led to a faked voyage, a breakdown and ultimately his death …" [c.m.-r.]

miss.gunst would like to thank the following artists and sound collectors:
jovica for the space machine, corsica s for some beautiful radiator sounds;
meryll hardt and radio campus, brussels, for sailing away with us;
cathryne morgan-richards and radio soundArt, darlington, for rowing us, in contrast to her unlucky hero, homewards again;
as well as radia.fm radio art network for being a crowd of incredibly creative partners.

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