This symposium aims to take a leap into the huge but reflective pool of current experimental and radio arts practice and the theoretical, technological and aesthetic currents that inform it.
Todays event brings together radio academics, practioners and artists whose own distinctive approaches to experimental radio demonstrate the manifold ways in which the convergence of new media technologies are simultaneously defining and problematising the notion of 'Radio Art'.
Richard Thorn raised the pertinent question back in 1996 “Why should it be necessary to raise the issue of 'experimental radio', for any other reason than that experiment is singly absent from listeners' experience ?”
I would like you to consider today if the task of the radio artist is to liberate the technologies of communication from the stultifying codes of conventions that dominate the radio medium and render the very idea of experimentation anathema.
Has the ever growing prevailance of new media, mobile technologies and increased spectrum availability, via micro radio and community, radio opened a new terrain for the kinds of experimental practice long suppressed by mainstream broadcasting channels, or will this dispersed internet radio landscape be once more recolonised by "the professionals” as the internet becomes increasingly commercialized and policed.
The speakers gathered here have devised their own strategies towards this task and I hope this will prove an informative exchange of ideas between all attending. It’s great that so many of you have made it from some distance today. As well as students and staff who have attended form the arts, media and music departments.
“Radio Art” has grown as an international practice, each cluster of radio art activity developing its own distinctive practice according to the diversity of economic, social and artistic circumstances from which they've emerged. I hope that todays interchange will allow us to engage with Radio Art as an active set of aesthetic strategies enmeshing the local and global.
So this seems the perfect moment to hand over to our keynote speaker Dr Kersten Glandien who will be raising a central question and one I also ask you to consider now - So this seems the perfect moment to hand over to our keynote speaker Dr Kersten Glandien who will be raising a central question and one I also ask you to consider now - has the gap between sound related disciplines closed?
Showing posts with label radio art. Show all posts
Showing posts with label radio art. Show all posts
Wednesday, November 3, 2010
Friday, October 30, 2009
Saturday, October 3, 2009
Dr Angus Carlyle Paper Abstract
From Afar
This speculative presentation will explore how notions of proximity and distance modulate our experiences of sound, including sound that is the result of artistic intervention. Layering ideas drawn from acoustics and perception over the top of themes emerging from anthropology, philosophy, literature and folklore, the intention is to animate the concept of distance as one that might make a different sense out of the experience of listening.
Distance – geographic distance, temporal distance and cultural distance – might find its mechanical corollary in the 'radio', a term I will understand as an abbreviation for any apparatus that can bring sound from far to near.
Angus Carlyle is a writer, artist and academic. In parallel to a long-standing engagement with contemporary photography, his writing has tackled subjects as diverse as the suicide of Guy Debord and the sense of place experienced by long-distance truck drivers. He edited Autumn Leaves: Sound and Environment in Artistic Practice for Double Entendre and compiled an award-winning album to accompany the book.
His explorations of sound in artistic contexts have involved exhibiting at various galleries, appearing on CDs and performing. He co-curated the Sound Escapes exhibition at Space in London and his first solo CD, Some Memories of Bamboo is released by Gruenrekorder in the Autumn.
This speculative presentation will explore how notions of proximity and distance modulate our experiences of sound, including sound that is the result of artistic intervention. Layering ideas drawn from acoustics and perception over the top of themes emerging from anthropology, philosophy, literature and folklore, the intention is to animate the concept of distance as one that might make a different sense out of the experience of listening.
Distance – geographic distance, temporal distance and cultural distance – might find its mechanical corollary in the 'radio', a term I will understand as an abbreviation for any apparatus that can bring sound from far to near.
Angus Carlyle is a writer, artist and academic. In parallel to a long-standing engagement with contemporary photography, his writing has tackled subjects as diverse as the suicide of Guy Debord and the sense of place experienced by long-distance truck drivers. He edited Autumn Leaves: Sound and Environment in Artistic Practice for Double Entendre and compiled an award-winning album to accompany the book.
His explorations of sound in artistic contexts have involved exhibiting at various galleries, appearing on CDs and performing. He co-curated the Sound Escapes exhibition at Space in London and his first solo CD, Some Memories of Bamboo is released by Gruenrekorder in the Autumn.
Wednesday, September 23, 2009
Lance Dann Paper Abstract and Biog
The Flickerman: new forms of narrative for new forms of listening
Downloadable delivery of audio presents the radio drama writer and producer with the opportunity to experiment with new ways of assembling and presenting narrative. The audience is no longer tied to listening at a particular time, a particular location or in a particular fashion – they can control their listening experience, the can pause, rewind, draw in or draw out of the narrative. No longer tied to a schedule, to an audience demographic or even a particular station radio drama can be produced in a manner that will challenge and subvert accepted understanding of how the form functions.
The Flickerman is an ongoing interactive radio drama project that has run on radio stations internationally since Spring 2009; being described in the Guardian as “new and amazing” “fashionable compulsiveness” and “a strange and exhilarating project”. The narrative is unpacked through the combined use of audio, film, online interaction and a bricolaged of Internet artefacts. Dissemenated via iPhone app, online networks and broadcast radio – The Flickerman creates layered narrative of great depth that allows the audience to chose how they interact with and listen to the story. It is an attempt to create a working programme model for a new kind of radio/audio drama listener.
Lance Dann is the founder of Radio Art group Noiseless Blackboard Eraser
(1994 - 2007) and Associate Member of The Wooster Group (1998 to present). He studied Radio at Goldsmiths' College and produced a number of experimental radio programmes for Festival Radio Productions' Brighton based RSL radio stations during the early 1990s.
As a radio artist he has worked extensively with composer Rohan Kriwaczek on a series of works for BBC Radio 3, BBC Radio 4 and independent stations internationally. Their collaborations included a long running series of live radio performances and a trilogy of experimental plays for radio ("If on a Summer Night a Listener...", "Ho! Ho! The Clown is Dead" and "Glowboys"). Between 1996 and 2002 he worked with The Wooster Group as producer of a sequence of plays for BBC Radio 3 ("The Emperor Jones", "Phaedra" and "The Peggy Carstairs Report"). He worked as sound designer for the company during the development of "To You the Birdie" and through performances of "House/ Lights". In 1999 he recorded two documentaries with Yoko Ono for BBC Radio 3, the first time she'd spoken at length to the British media for over 20 years. His work in radio and theatre has earned a number of awards including two Sony Awards and a Prix Marulic.
In recent years he has been writing for BBC Radio, carrying out doctoral research at Bath Spa University in the development of radio drama commissioning at the BBC on behalf of the Society of Authors, running a Sound Design programme at Ravensbourne College and developing ARG based audio projects with Panicboy Productions.
Downloadable delivery of audio presents the radio drama writer and producer with the opportunity to experiment with new ways of assembling and presenting narrative. The audience is no longer tied to listening at a particular time, a particular location or in a particular fashion – they can control their listening experience, the can pause, rewind, draw in or draw out of the narrative. No longer tied to a schedule, to an audience demographic or even a particular station radio drama can be produced in a manner that will challenge and subvert accepted understanding of how the form functions.
The Flickerman is an ongoing interactive radio drama project that has run on radio stations internationally since Spring 2009; being described in the Guardian as “new and amazing” “fashionable compulsiveness” and “a strange and exhilarating project”. The narrative is unpacked through the combined use of audio, film, online interaction and a bricolaged of Internet artefacts. Dissemenated via iPhone app, online networks and broadcast radio – The Flickerman creates layered narrative of great depth that allows the audience to chose how they interact with and listen to the story. It is an attempt to create a working programme model for a new kind of radio/audio drama listener.
Lance Dann is the founder of Radio Art group Noiseless Blackboard Eraser
(1994 - 2007) and Associate Member of The Wooster Group (1998 to present). He studied Radio at Goldsmiths' College and produced a number of experimental radio programmes for Festival Radio Productions' Brighton based RSL radio stations during the early 1990s.
As a radio artist he has worked extensively with composer Rohan Kriwaczek on a series of works for BBC Radio 3, BBC Radio 4 and independent stations internationally. Their collaborations included a long running series of live radio performances and a trilogy of experimental plays for radio ("If on a Summer Night a Listener...", "Ho! Ho! The Clown is Dead" and "Glowboys"). Between 1996 and 2002 he worked with The Wooster Group as producer of a sequence of plays for BBC Radio 3 ("The Emperor Jones", "Phaedra" and "The Peggy Carstairs Report"). He worked as sound designer for the company during the development of "To You the Birdie" and through performances of "House/ Lights". In 1999 he recorded two documentaries with Yoko Ono for BBC Radio 3, the first time she'd spoken at length to the British media for over 20 years. His work in radio and theatre has earned a number of awards including two Sony Awards and a Prix Marulic.
In recent years he has been writing for BBC Radio, carrying out doctoral research at Bath Spa University in the development of radio drama commissioning at the BBC on behalf of the Society of Authors, running a Sound Design programme at Ravensbourne College and developing ARG based audio projects with Panicboy Productions.
Tom McCarthy Paper Abstract and Biog
Calling All Agents
Tom McCarthy's concern with the logic and aesthetic of wireless transmission has played itself out in various ways over the last seven years. Here he presents a short film about the 'Black Box' he installed, under the banner of his semi-fictitious avant-garde art 'organisation' the International Necronautical Society, in Stockholm's Moderna Museet as part of the 2008 exhibition 'Eclipse:
Art in a Dark Age'. He will also read a passage from and discuss his new novel 'C', which will be published by Jonathan Cape in 2010 and deals with the relationship between wireless transmission and mourning at the dawn of the twentieth century.
Tom McCarthy is an artist and writer. His first novel, 'Remainder', won the Believer Book Award 2007 and is currently being adapted for cinema by Film4. His semi-fictitious avant-garde 'organisation' the International Necronautical Society has published and exhibited widely, most recently using radio transmissions in Moderna Museet Stockholm and Hartware Medien Kunstverein Dortmund. His new novel, which deals with the relationship between technology and mourning, will be published by Jonathan Cape in 2010.
Tom McCarthy's concern with the logic and aesthetic of wireless transmission has played itself out in various ways over the last seven years. Here he presents a short film about the 'Black Box' he installed, under the banner of his semi-fictitious avant-garde art 'organisation' the International Necronautical Society, in Stockholm's Moderna Museet as part of the 2008 exhibition 'Eclipse:
Art in a Dark Age'. He will also read a passage from and discuss his new novel 'C', which will be published by Jonathan Cape in 2010 and deals with the relationship between wireless transmission and mourning at the dawn of the twentieth century.
Tom McCarthy is an artist and writer. His first novel, 'Remainder', won the Believer Book Award 2007 and is currently being adapted for cinema by Film4. His semi-fictitious avant-garde 'organisation' the International Necronautical Society has published and exhibited widely, most recently using radio transmissions in Moderna Museet Stockholm and Hartware Medien Kunstverein Dortmund. His new novel, which deals with the relationship between technology and mourning, will be published by Jonathan Cape in 2010.
Keynote Paper by Dr Kersten Glandien
Radio & SoundArt: Ties & Convolutions
Understanding RadioArt as a specific kind of audio art, this paper will look at the manifold interconnections between SoundArt on and off air. Over the last 50 years the diverse practice of SoundArt has developed many links to radio: as SoundArt using radio technology; as radiogenic components of multi-medial SoundArt; as audio art produced for, or commissioned and broadcast by, radio stations; as live events initiated by radio producers outside the institution of radio and, more recently - alongside the development of digital media and the media fusion consequent upon it - as multimedia art.
The paper will discuss the nature of these interconnections in their aesthetic, conceptual, technological and institutional dimensions. It will trace SoundArt’s encounter with radio technology in the ‘60s, scan its endorsement by public radio institutions in the ‘70s, ‘80s and ‘90s and, finally, reflect on both the rise of independent radio activity, and the recent decline of RadioArt in public radio, in the light of increasing commercialisation and seismic technological change.
Dr Kersten Glandien is an author, researcher and lecturer in the fields of SoundArts, Aesthetics and Contemporary Arts, living in London. Born 1953 in Germany, she studied Philosophy, Aesthetics and Art History at the University of St.Petersburg (Leningrad), Russia. She worked as lecturer and researcher at the Technical University Dresden, at the Music College Dresden (1977-1982) and as a senior research fellow at the Institute of Aesthetics and Art Theory of the Academy of Science in Berlin (1982-1989). In 1985 she got her PhD in Philosophy/ Aesthetics. Her fields of expertise span the aesthetics of Art, Architecture, Design and Music. In 1989 she moved to England, where she worked freelance as writer and curator for several years. In 1993 she took on an Adjunct Professorship at Richmond - The American International University in London - where she teaches Postmodernism (MA) and Contemporary Visual Culture and, previously, Experimental Music. In 2003 she was called to the University of Brighton, where she developed and teaches SoundArt studies.
http://kerstenglandien.com
Understanding RadioArt as a specific kind of audio art, this paper will look at the manifold interconnections between SoundArt on and off air. Over the last 50 years the diverse practice of SoundArt has developed many links to radio: as SoundArt using radio technology; as radiogenic components of multi-medial SoundArt; as audio art produced for, or commissioned and broadcast by, radio stations; as live events initiated by radio producers outside the institution of radio and, more recently - alongside the development of digital media and the media fusion consequent upon it - as multimedia art.
The paper will discuss the nature of these interconnections in their aesthetic, conceptual, technological and institutional dimensions. It will trace SoundArt’s encounter with radio technology in the ‘60s, scan its endorsement by public radio institutions in the ‘70s, ‘80s and ‘90s and, finally, reflect on both the rise of independent radio activity, and the recent decline of RadioArt in public radio, in the light of increasing commercialisation and seismic technological change.
Dr Kersten Glandien is an author, researcher and lecturer in the fields of SoundArts, Aesthetics and Contemporary Arts, living in London. Born 1953 in Germany, she studied Philosophy, Aesthetics and Art History at the University of St.Petersburg (Leningrad), Russia. She worked as lecturer and researcher at the Technical University Dresden, at the Music College Dresden (1977-1982) and as a senior research fellow at the Institute of Aesthetics and Art Theory of the Academy of Science in Berlin (1982-1989). In 1985 she got her PhD in Philosophy/ Aesthetics. Her fields of expertise span the aesthetics of Art, Architecture, Design and Music. In 1989 she moved to England, where she worked freelance as writer and curator for several years. In 1993 she took on an Adjunct Professorship at Richmond - The American International University in London - where she teaches Postmodernism (MA) and Contemporary Visual Culture and, previously, Experimental Music. In 2003 she was called to the University of Brighton, where she developed and teaches SoundArt studies.
http://kerstenglandien.com
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