CARL STONE — FOR RADIO BOREDCAST

As a musical instruction, "as slow as possible" has appeared in composers' scores for the past several centuries. In the past such a term had meaning because of the constraints of human abilities and the limits of instrumental mechanics. But in the digital world these constraints no longer exist. Instead the real problem to realize music "as slow as possible" in the digital age is due to Xeno's Paradox - anything that is slowed down can be slowed down still more. In this program I talk about the implications of musical slowness in the analog and digital ages and I present some music from as far back as ten centuries ago to the present day. (Carl Stone)

Carl Stone is one of the pioneers of live computer music, and has been hailed by the Village Voice as "the king of sampling" and "one of the best composers living in (the USA) today." He studied composition at the California Institute of the Arts with Morton Subotnick and James Tenney and has composed electro-acoustic music almost exclusively since 1972. His works have been performed across the world. [http://www.sukothai.com]

PLAYLIST:
Carl Stone: Leif Stretch Stretch (unreleased)
Alvin Lucier: I am Sitting In A Room (Lovely Records)
Carl Stone: Shing Kee (EAM DIscs 1990, New Albion 1992)
Imperial Court Orchestra of Japan: Goshoraku No Kyu (Columbia Music Entertainment)
Carl Stone: Water & Body, Part 1 (unreleased)

CHARLIE: BUSY DOING NOTHING — SLOW REPETITION FOR RADIO BOREDCAST

Repetition
Experimental, pop, hip-hop, comedy, and spoken-word audio pieces which use repetition as a formal device. I love a joke that repeats itself. I love a joke that repeats itself. (Charlie Lewis)

Charlie Lewis has been compiling music since he got a tape recorder at age eight, but it was not until his involvement with WFMU that he was able to foist his musical conglomerations on the public at large. He has been doing just that, both at that beacon of freeform radio and at other stations, and also for fashion shows and such, since 1996. He has played in various combos ([http://bit.ly/tiWSoW]), and written lots of music ([http://bit.ly/tZEy2g]), but has yet to outdo this work ([http://bit.ly/vqiV0f]).  Charlie worked in broadcast audio and in the music business for many years, but now does the more honest work of selling patent medicine. [http://wfmu.org/playlists/CL]

[http://beingslowlynowhere.typepad.com/]

PLAYLIST:
bed: Pierre Bastien - Eloj du Piqueupe - Musiques Paralloidres   
David Mahler: Cup of Coffee - The Voice of the Poet
Negativland: Piece a Pie - No Business
Armand van Helden's Sampleslaya: Hot Butter - Enter the Meatmarket
People Like Us: Sugar and Spice - Thermos Explorer
The Marx Brothers: I'm Daffy Over You - Animal Crackers
bed: Dan Moses Schreier: Exotic (short version) - Sonic Circuits IV (various artists)
Phillip Glass: Prematurely Air-Conditioned Supermarket - Einstein on the Beach
Joe McGinty & the Brooklyn Organ Synthesizer Orchestra: Tubular Bells, end section
R. Stevie Moore: Everyone, But Everyone - The Future Is Worse Than the Past
Bruce Nauman: Pete and Repeat; Dark and Stormy Night - Raw Materials
Space Ghost Coast to Coast: Brak and Zorak: The Song That Doesn't End - Musical Bar-B-Que
Peter & Lou Berryman: Sing It Again - No Relation
Tenniscoats: Telen Pa Wu - Songs for Nao (various artists)
bed: Pierre Bastien - Eloj du Piqueupe
Asa-Chang & Junray: untitled Japanese counting song - Tsu Gi Ne Pu

CHRIS WATSON: LUSKENTYRE — FOR RADIO BOREDCAST

Luskentyre is a 32-minute time compression of a cycle of the tide on a beach in the western isles of Scotland.

Chris Watson is one of the world's leading recorders of wildlife and natural phenomena. In 1971 he was a founding member of the influential Sheffield-based experimental music group Cabaret Voltaire. His sound recording career began in 1981 when he joined Tyne Tees Television. Since then he has developed a particular and passionate interest in recording the wildlife sounds of animals, habitats and atmospheres from around the world. His television work includes Bill Oddie Back in the USA, Springwatch, Autumnwatch and The One Show. http://[www.chriswatson.net]

DANIELA CASCELLA: 31 DAYS, SLOW AND STILL

31 DAYS READING LE PONT MIRABEAU BY GUILLAUME APOLLINAIRE AT 8.30AM — FOR RADIO BOREDCAST

Le pont Mirabeau is a poem by Guillaume Apollinaire, published in his 1913 collection Alcools. In response to the theme and the structure of As Slow As Possible/Radio Boredcast, I chose to record myself reading Le pont Mirabeau at 8.30 in the morning for 31 days, anticipating and mirroring the duration of the broadcast in a different place and at a different time.

I chose this poem because of its slow flowing against its slowing into stillness — the flow of water, time and words in the stanzas against the circularity of time in the refrain. The adjective ‘slow’ appears still in the third stanza, the same one that contains ‘love’, ‘hope’, ‘violent’. The adjective ‘still’ appears slow in the refrain, as an impossibility. In the original French poem, ‘slow’ rhymes with ‘violent’ and ‘still I stay’ with ‘hours’.

The lack of punctuation throughout the poem calls not only for a flow of words, but also for different rhythms and meanings arising out of each reading. The readings always took place in my office, sometimes as dedicated recordings, sometimes while I was preparing to go out, sometimes while I was reading the paper or checking the news online. I learned the poem by heart, so sometimes the recordings mirror my small hesitations and gaps in recalling the verses. An old phonograph recording of Apollinaire reading the poem (from the Archives de Parole, Collection Phonothèque Nationale - Bibliothèque Nationale, Paris) supported some of the readings.

Daniela Cascella is a writer and curator based in London since 2009. Her research is focused on sound and on the way it seeps into other formats, most of all text. Her most recent projects explore and employ fictional tropes in writing criticism and descriptions of sound in fiction. She has recently finished writing her third book, En abÎme: a narrative across listening, reading and writing-as-landscape, as part of her research in the MFA Art Writing at Goldsmiths College that she completed in 2011. http://[www.danielacascella.com]

DAVE SOLDIER: TIMELESS RADIO PROJECT — FOR RADIO BOREDCAST

Timeless Music, explains the two physical dimensions of music and approaches to manipulate them, with musical examples.

For recorded music, the dimensions are air pressure amplitude and time: and for composed music the dimensions are frequency and time. We explore some approaches for how one can play with these dimensions, for example using fractal patterns with partial dimensions, so that issues like tempo become undefined, and the length of music become ambiguous.

The show includes explanations / illustrations of how to make deliberate fractal patterns in music, Fourier transform music and even a straightfoward explanation of white noise. (These are really not hard, and I'd like to think I explain them with minimal jargon.) 

Exploring this direction, I have prepared some math music:

The variations on Chopin's Minute Waltz uses integrals, derivatives, averages, and more.

My third string quartet, "The Essential" consists of mathematical variations on the second movement of Arnold Schoenberg’s Second Quartet, and can be heard and the score downloaded from the[ Scores] page. It includes a derivative movement, an integral (very short), a fractal movement, and a Fourier transform. 

Olivia Porphyria, a fractal on Haydn's name, from Organum can also be heard and the score downloaded from the Scores page at [http://www.davesoldier.com] 

Here are scores for two other fractal pieces for trombone and two guitars, [Fractal on the Name of Hayd] ([http://davesoldier.com/scores/FractalHaydn4.30.Frets.pdf]) and [Fractal on the Name of Bach] ([http://davesoldier.com/scores/FractalBach4.30.pdf]). For clarity, though, I advise starting with the Fractal Variation in "The Essential Quartet" (see score page) which is easier to follow and is essentially equivalent to a Koch snowflake pattern.

Why haven't integrals and derivatives been used to compose? It's not hard. Here's a mini-lesson on making a derivative or integral version of a musical theme:

Use a C major scale, CDEFGABC. 

Assigning a number to each note, here starting at 0=C, the scale is: 0,2,4,5,7,9,11,12 

For a first derivative, subtract each note from the preceding note, (0),2,2,1,2,2,2,1

Which using the original scale tones would be: C,D,D,Db,D,D,D,Db: voila'! the first derivative! 

To integrate the derivative add each number to the previous, (0),2,4,5,7,9,11,12: which returns the original scale 

Integrate the original scale, and you'll see why integrals of the music rapidly go beyond the range of hearing! Examples are in the Essential Quartet and the Chopin Variations below, both with very short integral movements. 

Dave Soldier leads a double life as a musician and a neuroscientist. As a composer, he developed a repertoire for groups including the Thai Elephant Orchestra, 14 elephants for whom he built giant instruments and who released 3 CDs, and projects with children, including rural Guatemala (Yol Ku: Mayan Mountain Music) and New York's East Harlem (Da HipHop Raskalz). His Soldier String Quartet helped usher the use of hiphop, R&B, and punk rock into classical music in the 1980s, and his long-running Memphis/New York Delta punk band, the Kropotkins, is a cult favorite. His composed The People's Choice Music: the most wanted and unwanted songs, following poll results of likes and dislikes of the American population, with artists Komar & Melamid; song cycle/oratorios in collaborations with Kurt Vonnegut, and many chamber and classical works. As a performer and arranger, he worked with John Cale, Bo Diddley, Van Dyke Parks, David Byrne, and many jazz and avant garde acts, appearing on over 100 albums and films on violin, guitar, or arranger. As David Sulzer, he is a neuroscientist and Professor at Columbia University in the Departments of Psychiatry and Neurology. [http://davesoldier.com/experimental.html]

MATMOS: MUSIQUE CONCRETE HOUR 1 — FOR RADIO BOREDCAST

In response to the invitation to contribute sound, which somehow speaks to the stated theme of slow audio, we have decided to focus upon musique concrete and its aftermath. The original practitioners of the musique concrete tradition - which was a global phenomenon, and not simply a continental one as it often supposed - had to work carefully, methodically, and above all, slowly. In order to capture, manipulate, process and assemble their work, decisions had to be made and enacted, plans drawn up, trials conducted and errors removed. Lots of painstaking, hands on work stands behind each edit, each cut, each splice, each pass through a filter or into a process. The music soaks up and stores time, and it plays with time as a basic material. This music is both intensive and extensive in its demands upon its creators and its listeners. That said, we have not narrowly emphasized only the pioneers, but have sought to draw some connections between the first generation and subsequent audio, which seems to us to draw inspiration from this methodology. Slow down and enjoy.

Matmos is M.C. Schmidt and Drew Daniel, aided and abetted by [many others]. In their recordings and live performances over the last nine years, Matmos have used the sounds of: amplified crayfish nerve tissue, the pages of bibles turning, a bowed five string banjo, slowed down whistles and kisses, water hitting copper plates, the runout groove of a vinyl record, a $5.00 electric guitar, liposuction surgery, cameras and VCRs, chin implant surgery, contact microphones on human hair, violins, rat cages, tanks of helium, violas, human skulls, cellos, peck horns, tubas, cards shuffling, field recordings of conversations in hot tubs, frequency response tests for defective hearing aids, a steel guitar recorded in a sewer, electrical interference generated by laser eye surgery, whoopee cushions and balloons, latex fetish clothing, rhinestones on a dinner plate, Polish trains, insects, ukelele, aspirin tablets hitting a drum kit from across the room, dogs barking, people reading aloud, life support systems and inflatable blankets, records chosen by the roll of dice, an acupuncture point detector conducting electrical current through human skin, rock salt crunching underfoot, solid gold coins spinning on bars of solid silver, the sound of a frozen stream thawing in the sun, a five gallon bucket of oatmeal. [http://brainwashed.com/matmos/bio/]

TOUCHAVRADIO: MIKE HARDING PRESENTS... TIME — FOR RADIO BOREDCAST

TouchAVRadio (2011). Compiled by Mike Harding

Time:
Walo Shatan Gwari: "FARMING IS THE MOST IMPORTANT OCCUPATION TODAY"
Ken Shabby: "Live in Kyoto" (2000)
The London Snorkelling Team: "The Creep"
Jana Winderen: "North Atlantic Drift", JunKroom at Urban Guild, Kyoto 2009
Joachim Nordwall: “Ignition” (extract, fading...)

TouchRadio: Jon Wozencroft and Mike Harding made various collections on cassette over the first ten years of Touch (1982-1992), some actually called "TouchRadio", and some not. TouchRadio is now a formally presented collection of episodes (70 at time of writing) on its own website. It also was acquisitioned as a "Named Collection" by The British Library in 2010. [http://www.touchradio.org.uk]

RADIO WEB MACBA PRESENTS: COMPOSING WITH PROCESS — PERSPECTIVES ON GENERATIVE AND SYSTEMS MUSIC #4.1. TIME.

BY MARK FELL AND JOE GILMORE   

Ràdio Web MACBA is the Museu d'art contemporani de Barcelona (MACBA) online radio project. [http://rwm.macba.cat]

Curated by Mark Fell and Joe Gilmore. Narrated by Connie Treanor.

The fourth episode in this series introduces the idea of time and its relationship to musical practices. The show opens with thoughts about time drawn from philosophy, science and musicology and shows how these are expressed in musical form, and looks at the origins of sonic action, musical behaviors and notational systems as a way of engaging with the temporal realm. With a specific reference to the emergence of sound recording technologies — both vinyl and tape — the show examines how new technologies have impacted musical vocabularies and changed the relationship between sound, time and music. It closes with a brief look at how computer based editing has extended this paradigm and opened the way for stochastic methods of sound generation.
[http://rwm.macba.cat/en/research/composingwithprocess_4_mark_fell_joe_gilmore/capsula]

ERGO PHIZMIZ SINGS GILBERT AND SULLIVAN: THE PIRATES OF PENZANCE — FOR RADIO BOREDCAST

Around the age of 11 or 12 I became obsessed with the comic operettas of Gilbert & Sullivan. This fascination lasted around 3 years. There were posters of W.S. Gilbert (the "S" stands for Schwenck, rather spectacularly) and Arthur Sullivan on my bedroom wall.

For years the thought of returning to their works "from memory" has been at the back of my mind. My very boring contribution to Radio Boredcast is "acappella" versions of the G & S operettas "HMS Pinafore", "Iolanthe", "The Pirates of Penzance" and "The Mikado".

Some of them I know better than others. In the cases where I didn't know the melodies, I made them up or roughly talked through them. I also decided to not use different voices for characters (these recordings are my second takes - the first takes sounded like The Goon Show and to be honest I had far too much fun doing them for it be genuinely boring), and to omit stage directions, so we are left with a very boring barrage of Victorian words, tuned and untuned, from my tired, monotone voice.

Ergo Phizmiz is a composer, writer, and multimedia artist. He makes pop, theatre, installations, opera, radio-art, radioplays, sound-collages and performances. He lives in Bridport, UK, and has a headache. He never wants to perform Gilbert & Sullivan again. [http://ergophizmiz.net]

IRENE MOON — LETS TALK SCIENCE: THE ICE SHOW IN CONVERSATION WITH CHRIS WATSON — FOR RADIO BOREDCAST

Irene uses her entomological and scientific background to connect with individuals from the scientific community; discussing their perception of time on topics they are most intimate and familiar. [http://www.begoniasociety.org]

Chris Watson is one of the world's leading recorders of wildlife and natural phenomena for television documentary and musical collaborations. Our topic is ice at the end of the world and his impression of recording in Antarctica. [http://www.chriswatson.net]

LANGUAGE REMOVAL SERVICES: THE MIDDLE EAST PEACE PROCESS — FOR RADIO BOREDCAST

Chris Kubick is an artist, composer and sound designer who works under a variety of pseudonyms, including Language Removal Services, an institute and laboratory founded by one Dr. Raymond Chronic that may or may not exist solely as the web site http://[www.languageremoval.com].

Kubick frequently collaborates with Anne Walsh, and together they have created ARCHIVE, whose best-known project, entitled Art After Death consists of interviews with artists who have died conducted through spirit mediums. Together their work has appeared in the 2002 Whitney Biennial and at the Yerba Buena Center for the Arts, San Francisco; the Museum of Contemporary Art, Los Angeles; and the Royal College of Art, London. Kubick has been heard on public radio in the U.S., Canada and Great Britain.

THE LONG NOW FOUNDATION: WILL WRIGHT AND BRIAN ENO — PLAYING WITH TIME

In a dazzling duet Will Wright and Brian Eno gave an intense clinic on the joys and techniques of “generative” creation. Back in the 1970s they both got hooked by cellular automata such as Conway’s “Game of Life,” where just a few simple rules could unleash profoundly unpredictable and infinitely varied dynamic patterns. Cellular automata were the secret ingredient of Wright’s genre-busting computer game “SimCity” in 1989. Eno was additionally inspired by Steve Reich’s “It’s Gonna Rain,” in which two identical 1.8 second tape loops beat against each other out of phase for a riveting 20 minutes. That idea led to Eno’s “Music for Airports” (1978), and the genre he named “ambient music” was born.

Wright observed that science is all about compressing reality to minimal rule sets, but generative creation goes the opposite direction. You look for a combination of the fewest rules that can generate a whole complex world that will always surprise you, yet within a framework that stays recognizable. “It’s not engineering and design,” he said, “so much as it is gardening. You plant seeds. Richard Dawkins says that a willow seed has only about 800K of data in it.”

Eno noted that ambient music, unlike “narrative” music with a beginning, middle, and end, presents a steady state. “It’s more like watching a river.” Wright said he often uses Eno’s music to work to because it gets him in a productive trancelike state. Eno remarked that it’s important to keep reducing what the music attempts, and one way he does that is compose everything at double the speed it will be released. Slowing it down reduces its busyness. Wright: “How about an album of the fast versions?” Eno: “‘Amphetamine Ambient.’” [http://longnow.org/seminars/02006/jun/26/playing-with-time/]

Courtesy of the Long Now Foundation. [http://longnow.org/]

[TOP]

NANCY O GRAHAM: SOMNILOQUY CYCLE — RED ROWBOAT
Nancy Oarneire Graham creates somniloquies, or recorded sleeptalk, by repetitively reading a short text—whether from a children's story, a work of nonfiction, or her own dreams—until she begins to fall half asleep. In the twilight state between waking and sleeping, known as the hypnagogic state, visions, half-formed thoughts, and stray words begin to interrupt those read from the page, opening a window onto this borderland.

1. [TITLE] ROW, ROW, ROW
Opens with a lot of goofing around, followed by a singing somniloquy using the lyrics of “Row, Row, Row Your Boat.”

2. [TITLE] OVER TO UNCLE BOB’S ISLAND
[SOURCE TEXT]
Until very recently, people didn’t get across on boat, so I would ferry them in my rowboat, which was called The Red Baron, which was not the name I gave it. My dad named it.
This source text is itself a somniloquy that came out of a session in which I was reading the following text excerpted from Ervin Laszlo’s A Systems View of the World: “Until very recently, contemporary western science was shaped by a mode of thinking which placed rigorous, detailed knowledge above all other considerations.”

3. [TITLE] THE FEROCIOUS LAND OF THE BEASTS
[SOURCE TEXT]
A dream: Ada is out in a rowboat without a life jacket heading into the big lake. It is starting to rain. Her hair is short like mine was when I first got my rowboat. I am worried about lightning. She is heading into the big lake even though I’ve called her in.

Nancy Oarneire Graham's somniloquy-based poems and prose have appeared in print and online publications, including BlazeVOX, Café Irreal, Chronogram, Eratio, Invisible City, New Verse News, Pindeldyboz, Prima Materia, Listening in Dreams (by Carol Ione), and Water Writes (edited by Larry Carr). She has performed somniloquies as part of the Deep Listening Institute's Dream Festival in Kingston, New York. Her chapbook, somniloquies, is available from Pudding House Publications. [http://ngram.net/]

CHARLIE: BUSY DOING NOTHING — SLOW REPETITION — FOR RADIO BOREDCAST
Repetition
Experimental, pop, hip-hop, comedy, and spoken-word audio pieces which use repetition as a formal device. I love a joke that repeats itself. I love a joke that repeats itself. (Charlie Lewis)

Charlie Lewis has been compiling music since he got a tape recorder at age eight, but it was not until his involvement with WFMU that he was able to foist his musical conglomerations on the public at large. He has been doing just that, both at that beacon of freeform radio and at other stations, and also for fashion shows and such, since 1996. He has played in various combos ([http://bit.ly/tiWSoW]), and written lots of music ([http://bit.ly/tZEy2g]), but has yet to outdo this work ([http://bit.ly/vqiV0f]).  Charlie worked in broadcast audio and in the music business for many years, but now does the more honest work of selling patent medicine. [http://wfmu.org/playlists/CL]
[http://beingslowlynowhere.typepad.com/]

PLAYLIST:
bed: Pierre Bastien - Eloj du Piqueupe - Musiques Paralloidres   
David Mahler: Cup of Coffee - The Voice of the Poet
Negativland: Piece a Pie - No Business
Armand van Helden's Sampleslaya: Hot Butter - Enter the Meatmarket
People Like Us: Sugar and Spice - Thermos Explorer
The Marx Brothers: I'm Daffy Over You - Animal Crackers
bed: Dan Moses Schreier: Exotic (short version) - Sonic Circuits IV (various artists)
Phillip Glass: Prematurely Air-Conditioned Supermarket - Einstein on the Beach
Joe McGinty & the Brooklyn Organ Synthesizer Orchestra: Tubular Bells, end section
R. Stevie Moore: Everyone, But Everyone - The Future Is Worse Than the Past
Bruce Nauman: Pete and Repeat; Dark and Stormy Night - Raw Materials
Space Ghost Coast to Coast: Brak and Zorak: The Song That Doesn't End - Musical Bar-B-Que
Peter & Lou Berryman: Sing It Again - No Relation
Tenniscoats: Telen Pa Wu - Songs for Nao (various artists)
bed: Pierre Bastien - Eloj du Piqueupe
Asa-Chang & Junray: untitled Japanese counting song - Tsu Gi Ne Pu

RADIO BOREDCAST PRESENTS: BELLS, BOWLS, GONGS AND GAMELAN
Throughout the month, Radio Boredcast is making selections of themed music that fit the As Slow As Possible subject, either in an obvious or more ethereal way. Bells, Bowls, Gongs and Gamelan is a collection of just that - but from west and east and across genres and time zones.

NANCY O GRAHAM: SOMNILOQUY CYCLE — DIFFERENT KINDS OF MARKS
Nancy Oarneire Graham creates somniloquies, or recorded sleeptalk, by repetitively reading a short text—whether from a children's story, a work of nonfiction, or her own dreams—until she begins to fall half asleep. In the twilight state between waking and sleeping, known as the hypnagogic state, visions, half-formed thoughts, and stray words begin to interrupt those read from the page, opening a window onto this borderland.

1. [TITLE] COMMA
[SOURCE TEXT]
And what does a comma do, a comma does nothing but make easy a thing that if you like it enough is easy enough without the comma. A long complicated sentence should force itself upon you, make you know yourself knowing it and the comma, well at the most a comma is a poor period that it lets you stop and take a breath but if you want to take a breath you ought to know yourself that you want to take a breath.
—Gertrude Stein, “Poetry and Grammar”

2. [TITLE] FETTERS
[SOURCE TEXT]
Stories are just words. And words are just letters. And letters are just different kinds of marks.
—Crockett Johnson, Magic Beach

3. [TITLE] DUCK TO AVOID BEING CHOPPED
[SOURCE TEXT]
So long as the words keep coming nothing will have changed, there are the old words out again. Utter, there’s nothing else, utter, void yourself of them, here as always, nothing else. But they are failing, true, that’s the change, they are failing, that’s bad, bad.
—Samuel Beckett, “Texts for Nothing 2”

[SOURCE TEXT]
the trees were witness
complete with joys and sorrows
seeing the immensity to measure and that heads are
only wound up once,
bristles waiting to depart or let fall to the ground
in the great limpness of sleep, perhaps dreaming
it's in heaven, alit in heaven.
—Samuel Beckett, "Texts for Nothing"

Nancy Oarneire Graham's somniloquy-based poems and prose have appeared in print and online publications, including BlazeVOX, Café Irreal, Chronogram, Eratio, Invisible City, New Verse News, Pindeldyboz, Prima Materia, Listening in Dreams (by Carol Ione), and Water Writes (edited by Larry Carr). She has performed somniloquies as part of the Deep Listening Institute's Dream Festival in Kingston, New York. Her chapbook, somniloquies, is available from Pudding House Publications. [http://ngram.net/]

SAMUEL BECKETT: TEXT FOR NOTHING

CHRIS WATSON: SUKAU PART 1 — FOR RADIO BOREDCAST
Over a period of 5 days whilst in Borneo, I went out into the jungle before sunrise and set up a stereo recording system and left it running - something I never usually do. The results are really good and I have a collection of sunrise tracks in the Sukau rainforest of Sabah in Borneo over successive mornings with a range of bird and other animal sounds as well as the characteristic sounds of tropical rainforest; that is huge amounts of humidity and moisture slowly percolating down from the canopy 40m overhead. (Chris Watson)

Chris Watson is one of the world's leading recorders of wildlife and natural phenomena. In 1971 he was a founding member of the influential Sheffield-based experimental music group Cabaret Voltaire. His sound recording career began in 1981 when he joined Tyne Tees Television. Since then he has developed a particular and passionate interest in recording the wildlife sounds of animals, habitats and atmospheres from around the world. His television work includes Bill Oddie Back in the USA, Springwatch, Autumnwatch and The One Show. [http://www.chriswatson.net]

HERMANN NITSCH: SUNRISE MUSIC
Das 6-Tage-Spiel Des Orgien Mysterien Theaters: 5-Tag (2000)
[http://www.ubu.com/sound/nitsch.html]

CHARLES POWNE: INDIAN SOUNDSCAPES - VARANASI
1. LAUNDRY AT SUNRISE, VARANASI
Thwack! Thwack! and some birds.
2. EVENING CEREMONY, DASHASWAMED GHAT, VARANASI
Lots and lots of bells. Very clichéd sounding.
3. AFTERNOON CRICKET GAME, VARANASI
Pretty quiet stuff, interrupted by excited shouting.
4. MORE CRICKET
5. GHATS WALK
Mostly very quiet, but with some nice music....'
6. WALKING AROUND
music, voices, fairly interesting.
7. SPECIAL PASSAGEWAY TOWARDS BURNING GHAT
8. TABLA PLAYER
Recorded outside his bedroom, through the curtain.
9. MORE LAUNDRY.
Better than track one because it has some faint singing being played through distant loudspeakers.
10. CONTINUATION OF TRACK 10
nice stuff, very quiet, but very nice!
11. NOTHING
12. MORE NOTHING

[http://soleilmoon.com/]

RADIO BOREDCAST PRESENTS: INDIAN RAGA
Throughout the month, Radio Boredcast is making selections of themed music that fit the As Slow As Possible subject, either in an obvious or more ethereal way. What I like about the raga is it is a series of notes arranged and rearranged in very methodical ways, reflective of the time of day, the season, and so on... very much in tune with the theme of Slowness in that it reflects time and repetition.

POREST: MOROCCO, JORDAN, SYRIA, TURKEY, LAOS, THAILAND — FOR RADIO BOREDCAST
Don’t be put off by this rote and obvious title. Instead, be loosely transported from west to east — Morocco to Thailand - via sound, music and radio transmissions recorded between the years 1997 & 2010 in the aforementioned locations.

Porest — aka Mark Gergis is a composer, performer, producer and international audio/visual archivist. Under the name Porest, he has released several solo and group efforts incorporating multi-layered music, pop songs, audio collage, field recordings, and surrealistic radio dramas. Gergis was a co-founder of the experimental Bay Area music and performance collective Mono Pause (1993 -2004) and its offshoot Neung Phak, which performs inspired renditions of music from Southeast Asia.
Since 2003, with the Sublime Frequencies label, an ethnographic music and film collective out of Seattle, Washington — and more recently, with his own record label — Sham Palace, Mark has found a platform to aptly share decades of research and countless hours of archived international music, film footage and field recordings acquired during extensive travels in the Middle East, South East Asia and elsewhere. Mark has managed and produced Syrian singer Omar Souleyman and his group from Northeastern Syria since 2006. [http://www.porestsound.net/home]

ALL AVANT-GARDE ALL THE TIME: THE SOUND OF SILENCE
Samples from Craig Dworkin's UbuWeb paper “Unheard Music,” featuring John Cage, Steve Reich, Mieko Shiomi, Yves Klein, and more.

Poet Kenneth Goldsmith presents selections from UbuWeb, the learned and varietous online repository concerning concrete and sound poetry, experimental film, outsider art, and all things avant-garde. [http://ubu.com]

DJ/RUPTURE: CURIOSITY SLOWDOWN — PART 1
As DJ /rupture, Jace Clayton has released several critically acclaimed albums and mix CDs, starting with 2001′s influential & groundbreaking live mix CD, Gold Teeth Thief, which earned a 4-star review in VIBE. Clayton maintains a busy international schedule performing in clubs around the world as well as venues such as The Whitney Museum, MoMA’s PS1, The Apollo Theater, the Pitchfork Festival and Spain’s SONAR.  His recent album, Uproot, was named one of the 10 Best Albums of 2008 by Pitchfork. He maintains a blog, Mudd Up!, and hosts a weekly radio show on WFMU, which is re-broadcast on several European stations. [http://www.watermelonbullets.com]

TRACKLIST:
The Raindrops Coming Down Only Halfway
A Broken Consort — A Sundering Path
Kayhan Kalhor & Brooklyn Rider — Silent City
Richard A. Ingram* — Béziers
Joy Orbison — Hyph Mngo
Yannis Kyriakides & Andy Moor (2) — Haremia
Ellen Fullman — Blue Tunnel Fields
Sparklehorse & Fennesz — Goodnight Sweetheart
A Broken Consort — The River

DANIELA CASCELLA: 31 DAYS, SLOW AND STILL

31 DAYS READING LE PONT MIRABEAU BY GUILLAUME APOLLINAIRE AT 8.30AM — FOR RADIO BOREDCAST
Le pont Mirabeau is a poem by Guillaume Apollinaire, published in his 1913 collection Alcools. In response to the theme and the structure of As Slow As Possible/Radio Boredcast, I chose to record myself reading Le pont Mirabeau at 8.30 in the morning for 31 days, anticipating and mirroring the duration of the broadcast in a different place and at a different time.

I chose this poem because of its slow flowing against its slowing into stillness — the flow of water, time and words in the stanzas against the circularity of time in the refrain. The adjective ‘slow’ appears still in the third stanza, the same one that contains ‘love’, ‘hope’, ‘violent’. The adjective ‘still’ appears slow in the refrain, as an impossibility. In the original French poem, ‘slow’ rhymes with ‘violent’ and ‘still I stay’ with ‘hours’.

The lack of punctuation throughout the poem calls not only for a flow of words, but also for different rhythms and meanings arising out of each reading. The readings always took place in my office, sometimes as dedicated recordings, sometimes while I was preparing to go out, sometimes while I was reading the paper or checking the news online. I learned the poem by heart, so sometimes the recordings mirror my small hesitations and gaps in recalling the verses. An old phonograph recording of Apollinaire reading the poem (from the Archives de Parole, Collection Phonothèque Nationale - Bibliothèque Nationale, Paris) supported some of the readings.

Daniela Cascella is a writer and curator based in London since 2009. Her research is focused on sound and on the way it seeps into other formats, most of all text. Her most recent projects explore and employ fictional tropes in writing criticism and descriptions of sound in fiction. She has recently finished writing her third book, En abÎme: a narrative across listening, reading and writing-as-landscape, as part of her research in the MFA Art Writing at Goldsmiths College that she completed in 2011. [http://www.danielacascella.com]

PHANTOM CIRCUIT: MATMOS
Featuring an interview with Matmos and music from their gig in Birmingham, UK on 15th May 2011.  M.C. Schmidt and Drew Daniel tell us about their live set and how it relates to experiments in telepathy. [http://phantomcircuit.com/2011/06/11/phantom-circuit-74/]

FELIX KUBIN: MOTHER IN THE FRIDGE — FOR RADIO BOREDCAST
A radio play without a script by Felix Kubin.

"Mother in the Fridge" is based on a phone conversation between my mother and me. I recorded this call spontaneously in order to take revenge on the many words that I am carrying around with me.

My mother loves to talk and she loves to talk in English. As I knew of the Radio Boredcast project of my friend Vicki Bennett, I suddenly decided to make this a long conversation in English with a lot of twists and little stories and some experiments with my mobile phone. I started to place the phone (=my mother) in all kinds of different sonic environments in order to test the corresponding acoustics and see what it does to the imagination of the listener. This idea led to a playfully improvised radio drama about early reflections on late memories.

Most people who take a call from my mother don't get away with a talk under 40 minutes. That's why this radio play has a duration of 40 minutes. The remaining music of the one hour show contains improvisations by Fritz Ostermayer and me while preparing for a lecture on the Austrian anarchist Herbert Müller-Guttenbrunn in November 2010. (Felix Kubin, Hamburg, December 2011).

Felix Kubin is a composer, radio-playwright, curator and media artist. He began recording and performing experimental electronic pop music at the age of 12. In the 1990s he turned to electroacoustic noise music and formed “Klangkrieg” with Tim Buhre. From 1992-1994 he co-organised artistic political interventions with the Dada-communist Party KED and the “Liedertafel Margot Honecker” singing group, whose notorious actions received wide media coverage. In 1998 Kubin started to produce Futuristic pop music and launched the independent record label “Gagarin Records”. Over the past decade he has performed at eighty international music and media arts festivals including Sonar, Club Transmediale, Mutek, ISEA, Wien Modern and Ars Electronica. Since 2001, Kubin has been writing and producing radio plays for national radio stations WDR, BR, DR, SWF and Vienna’s ORF Kunstradio. [http://www.felixkubin.com]

GWILLY EDMONDEZ: STAKEOUT — FOR RADIO BOREDCAST
1 — STAKEOUT (Gwilly Edmondez — voice & sampler)
‘Stakeout’ explores the suspension of time inherent to the stakeout in the world of cops as per its depiction in crime fiction and the movies. The narrative moves between two locales: Phoenix, Arizona, in an abstraction from James Sallis’s The Killer Is Dying, and Bridgend-(Wales)-masquerading-as-New-York where Gwilly reprises the role of detective Henry Zubradski that he played in the Tony Gage movies Deep Cop and Deep Cop2: Too Deep A Cop (both 1993).

Gwilly Edmondez has been making improvised music, composed music, collage and noise, officially, since co-founding Radioactive Sparrow in Bridgend, South Wales in 1980. Since 2004, in civilian life he has taught at the School of Arts & Cultures at Newcastle University. He currently performs and records as a solo artist and in multiple/multiplying group outfits. New work can be followed at the following locations:

[http://feltbeak.tumblr.com]
[http://www.kakutopia.com]
[http://www.youtube.com/user/prducer]
[http://vimeo.com/gwillyedmondez]
[http://freemusicarchive.org/label/Kakutopia/]

A selection of older work is also featured at UbuWeb:
[http://www.ubu.com/sound/edmondez.html]

NICOLAS COLLINS: AS SLOW AS POSSIBLE — FOR RADIO BOREDCAST
I’ve always held that slowing things down was one of the fundamental tactics in experimental music (in fact, in my book, Handmade Electronic Music — The Art of Hardware Hacking, I pompously enshrine “Slow it down, a lot” as the “third law of the avant-garde.)  It’s a weakness of mine, and one that I’m sure has cost me many a grant — an old friend of mine, having served on an arts council panel that had just turned me down, admitted, “Nic, you don’t make ‘panel-friendly music’ — it takes too long to get going.”  My formative years were spent immersed in “minimalist” music under the tutelage of Alvin Lucier. I’ve always thought the first act of music making was careful listening — I just don’t listen fast. After La Monte Young, Glass’s “Music In 12 Parts”, and a lot of Cage’s music my offerings strike me as pretty middle of the curve, but I guess others think otherwise.

What follows are a number of recordings of mine that depend upon either a stretching out and suspending of otherwise fleeting sound material, or just an extended period of relative unchanged to focus one’s attention. (Nicolas Collins, November 19, 2011)

Pea Soup (1974/2002-11)
Audio file: [http://www.nicolascollins.com/peasouptracks.htm]
Description: [http://www.nicolascollins.com/aboutpeasoup.htm]
[http://www.nicolascollins.com/peasouptracks.htm]
A self-stabilizing feedback network creates an “architectural raga” out of site-specific room resonance.

Tobabo Fonio and It Was A Dark And Stormy Night
From “It Was A Dark And Stormy Night” (1992)
Audio files & liner notes: [http://www.nicolascollins.com/darkandstormytracks.htm]
Essay on weird trombone: [http://www.nicolascollins.com/texts/TrombonePropelledElectronics.pdf]
In Tobabo Fonio a homemade digital signal processor — controlled from and playing back through a trombone — suspends and draws out fragments of Cusqueña brass band music. It Was A Dark And Stormy Night is an even more drawn out re-orchestration and extension of Tobabo Fonio, for vocalists and mixed ensemble.

Real Electronic Music (1987)
Audio file: [http://www.nicolascollins.com/otherrecs.htm]
Another work for my trombone-propelled electronics. Here the instrument is used to draw out signals from a scanning radio, similar to that in an automobile, but hacked so that it sits on each station for less than a second before scanning up to the next — a sort of an “aetherial drum machine”.

Baby, It’s You
With Peter Cusack, bouzouki
Audio file: [http://www.nicolascollins.com/otherrecs.htm]
Similar trombone-propelled electronics extension of the Bacharach/Dixon/David song, as recorded by the Shirelles.

Still Lives and Still (After) Lives
From “Sound Without Picture” CD (1999)
Audio files & liner notes: [http://www.nicolascollins.com/soundwithoutpicturetracks.htm]
Essay on history of hacked CDs: [http://www.nicolascollins.com/texts/cdhacking.pdf]
In Still Lives a CD player is hacked to enable a drawing out of 22 seconds of early Baroque music to almost 6 minutes, suspending the counterpoint into rhythmic harmonic loops, with live trumpet and voice above.  Still (After) Lives is an arrangement of the same musical material for a purely acoustic chamber ensemble.

Broken Choir (1997)
Performed by Zeitkratzer Ensemble
Audio file: [http://www.nicolascollins.com/otherrecs.htm]
Another work for hacked CD players drawing out 2 recordings of early music, with ensemble interplay.

Sonnet 40 (1998)
Axel Dörner, trumpet.
Audio file: [http://www.nicolascollins.com/otherrecs.htm]
Score: [http://www.nicolascollins.com/texts/sonnet40score.pdf]
Acoustic trumpet “reads” a Shakespeare Sonnet — at tempo, drawn out, and bebop speed.

Prattle (2011)
Audio files & text:[ http://www.nicolascollins.com/prattle.htm]
This is almost the opposite of the rubric: the first 22 months of my son’s life, tracking the evolution of his speech.  But it sure felt as slow as possible at the time.

RADIO BOREDCAST PRESENTS... PHILL NIBLOCK

OTHER MINDS: CHANCE MUSIC
Chance Music (December 13, 1962)

In this December 1962 program from the KPFA archives, composers Ramón Sender and Robert Moran (then graduate students in composition at Mills College), talk with Will Ogdon and John Whiting of the KPFA staff. Also present was dancer Judith Wickware who had worked with Anne Halprin. The two composers discuss the role of aleatoric, or chance music, in their work.

[http://www.radiom.org]
[http://www.archive.org/details/C_1962_12_13]

CODPASTE — WITH PEOPLE LIKE US & ERGO PHIZMIZ: THEDIT
All about the wonderful world of editing and cutting up of sounds. Ergo and Vicki talk about their favourite editors of life, and demonstrate how one can mess up sound so easily and to such good effect. Features the work of William Burroughs, Negativland, Language Removal Services and cut ups of BBC Radio.
ThEdit -[ www.wfmu.org/playlists/shows/25429]
[http://www.peoplelikeus.org/codpaste.htm]

"Codpaste" was a weekly podcast series in which the two artists People Like Us and Ergo Phizmiz attempted to compose collage music from the very beginning, in a "work in progress" style, attempting to open up the creative process. The theory is that it is rare to see compositions made from the outset, and usually the audience are only invited in once the piece is finished, done and dusted. It could be that new light may be shed on the creation of art if the curtains are opened and the audience are given access to the raw, the imperfect and the wrong as well as the polished and the finished. [http://www.wfmu.org/playlists/CT]

TIM MALONEY: MR SUGGS’S SHINY BEETLE HAT — FOR RADIO BOREDCAST
MSSBH began life as a turgid short story, written in an attempt to prove that a certain brand of screenwriting software was actually crap. It was, and so was the story, which no one would read, regardless of the amount offered. This new presentation, however, is bound to be the smash hit on radio I have always wanted. A little known fact about this piece is that it is entirely composed of birdsong, painstakingly recorded and edited, stretched, squeezed, modified, and modulated to sound like "synthesizers," "drums" and even "a narrator."  Even more amazing is that it consists only of the songs of common sparrows found outside my window when I am feeling melancholy. Perhaps the most startling, amazing, and downright awesome wicked aspect is that encoded in between the birdsong are secret subliminal instructions which, if all goes according to plan, will mobilize a good quarter of the listening audience (+/- 12% standard deviation) into my zombie apocalypse army.  WHICH YOU CANNOT STOP.

Tim Maloney is an American filmmaker and animator who has made films for the band Negativland, the Walt Disney Company, and the Los Angeles County Museum of Art, to name the strangest bedfellows. [http://www.nakedrabbit.com]

DOUG HORNE: SLOWRADIO 1 — FOR RADIO BOREDCAST
Doug Horne has been doing free-form radio and dabbling in audio art for the last 27 years at the radio stations CHRW, CKMS, and CFRU in Ontario Canada. His most curious and somewhat interesting achievement was curating the long-running and completely unknown audio-art show "Frequent Mutilations" on CKMS until it was over-run by cretin hordes in 2008. He has carried on audio art-based radio with the collaborative long-distance show "The Mannlicher Carcano Radio Hour" (his portion originating from CFRU in Guelph, Ontario). In his spare time Doug is an academic librarian who lives with his family and 8 chickens in a shack surrounded by sculptures made of rusty metal, and hopes one day to have an old car on blocks in his yard.    [http://frequent-mutilations.com/Frequent_Mutilations/Home.html]

PLAYLIST
Glenn Gould - The Silence in the Land
Residents - Eskimo
Field Recordings - Kitchener, Ontario, Canada
Bill Munroe - Blue Moon of Kentucky
Ledbelly - In the Pines
Roosevelt Sykes - Sweet Old Chicago
Hiledegard Westerkamp - Attending to Sacred Matters
Lonnie Johnson - Long Road to Travel

In various mixtures...

[TOP]



NICOLAS COLLINS: IT WAS A DARK AND STORMY NIGHT

OLD SHIPPING FORECAST

An old shipping forecast (or two) to help you into the land of nod.

JEM FINER: LONGPLAYER EXCERPT — FOR RADIO BOREDCAST

Jem Finer has made four 6-hour recordings of Longplayer to broadcast this month. Longplayer is a one thousand year long musical composition. It began playing at midnight on the 31st of December 1999, and will continue to play without repetition until the last moment of 2999, at which point it will complete its cycle and begin again. Conceived and composed by Jem Finer, it was originally produced as an Artangel commission, and is now in the care of the Longplayer Trust.

Longplayer is composed for singing bowls — an ancient type of standing bell — which can be played by both humans and machines, and whose resonances can be very accurately reproduced in recorded form. It is designed to be adaptable to unforeseeable changes in its technological and social environments, and to endure in the long-term as a self-sustaining institution. [http://longplayer.org]

Jem Finer is a UK-based artist, musician and composer. Since studying computer science in the 1970s, he has worked in a variety of fields, including photography, film, experimental and popular music and installation. He is currently working on a number of new projects continuing his interest in long-term sustainability and the reconfiguring of older technologies.

WOBBLY AND ANDREA WILLIAMS: MORE NATURE LIVE AT MILLS COLLEGE (9 MAY 2010)

Since 1990 Jon Leidecker has performed appropriative collage music under the psuedonym Wobbly, aiming for extended narratives spun from spontaneous yet coherent multi-sample polyphony. In the Variations podcast series at Radio Web MACBA Jon Leidecker reconstructs the history of sound appropriationism by looking at examples from 20th century composition, popular art and commercial media, and the convergence of all these trends today. [http://rwm.macba.cat/en/variations_tag/][http://detritus.net/wobbly/]

DORIAN JONES: TOILETS FOR EUROPE’S GREAT CULTURAL INSTITUTIONS — FOR RADIO BOREDCAST

Dorian Jones is a retired mashup artist formerly known as Arty Fufkin. As a musician he plays jazz double bass and has written and produced several documentary film scores. When his day job as an arts manager took him to Venice Biennale in 2009, Dorian took the opportunity to visit some of Europe's great cultural institutions making the field recordings of their toilet facilities for this project.

DANIELA CASCELLA: 31 DAYS, SLOW AND STILL

31 DAYS READING LE PONT MIRABEAU BY GUILLAUME APOLLINAIRE AT 8.30AM — FOR RADIO BOREDCAST

Le pont Mirabeau is a poem by Guillaume Apollinaire, published in his 1913 collection Alcools. In response to the theme and the structure of As Slow As Possible/Radio Boredcast, I chose to record myself reading Le pont Mirabeau at 8.30 in the morning for 31 days, anticipating and mirroring the duration of the broadcast in a different place and at a different time.

I chose this poem because of its slow flowing against its slowing into stillness — the flow of water, time and words in the stanzas against the circularity of time in the refrain. The adjective ‘slow’ appears still in the third stanza, the same one that contains ‘love’, ‘hope’, ‘violent’. The adjective ‘still’ appears slow in the refrain, as an impossibility. In the original French poem, ‘slow’ rhymes with ‘violent’ and ‘still I stay’ with ‘hours’.

The lack of punctuation throughout the poem calls not only for a flow of words, but also for different rhythms and meanings arising out of each reading. The readings always took place in my office, sometimes as dedicated recordings, sometimes while I was preparing to go out, sometimes while I was reading the paper or checking the news online. I learned the poem by heart, so sometimes the recordings mirror my small hesitations and gaps in recalling the verses. An old phonograph recording of Apollinaire reading the poem (from the Archives de Parole, Collection Phonothèque Nationale - Bibliothèque Nationale, Paris) supported some of the readings.

Daniela Cascella is a writer and curator based in London since 2009. Her research is focused on sound and on the way it seeps into other formats, most of all text. Her most recent projects explore and employ fictional tropes in writing criticism and descriptions of sound in fiction. She has recently finished writing her third book, En abÎme: a narrative across listening, reading and writing-as-landscape, as part of her research in the MFA Art Writing at Goldsmiths College that she completed in 2011. http://[www.danielacascella.com]

ANALOG ARTS ENSEMBLE: BEGINNING — ASLSP
Written in 1985 for the University of Maryland International Piano Festival and Competition, ASLSP stands for “As SLow aS Possible”. The title also refers to the opening line in the final paragraph of Finnegan’s Wake, “Soft morning city. Lsp!”. The piece was commissioned by the Friends of the Maryland Summer Institute for the Creative and Performing Arts and dedicated to the memory of Madolyn Leonard. [http://artsaha.org]

Bearing in mind the utter tedium of competition judging, John Cage thought his open score would be as much a challenge for performers as it would be a change of pace for the judges. The piece consists of eight small movements, one of which is to be omitted, and one of which is to be repeated at the performer’s discretion, a format that ensured the competition judges would never hear the same performance twice. John Cage’s revision of the work, Organ2: ASLSP, is currently being performed in Halberstadt, Germany over the course of 639 years. In the same epic tradition, Joseph Drew performed the original for nine hours at ARTSaha! 2006.

PETER GRUDZIEN: NOTHING

From Interesting Results CD Curated by Irwin Chusid

PEOPLE LIKE US: NOTHING

From Abridged Too Far by People Like Us - on UbuWeb

CRAIG DWORKIN: PARADOXICALLY QUICKENING EFFECTS FROM TIME SLOWING, RETARDING AND STRETCHING

1. Erik Satie - Vexations [LTMCD 2389]
Sometime around 1893, Erik Satie penned a short modal bass theme with two variations -- three lines of music and scarcely one hundred notes, but with the suggestion that they are to be repeated eight-hundred and forty times. The score has two enigmatic legends; one concerns the order in which the bass theme and the variations are played, while the other reads: "In order to play the motif 840 times in succession, one would do well to prepare oneself in advance, and in the deepest silence, by serious immobilities." A full run through the 840 repetitions runs about one full day (24 hours).  This selection, featuring Alan Marks in a performance from the late 1980s, include 1/21st of the whole -- 40 repetitions -- in just under 70 minutes.

2. La Monte Young - The Well-Tuned Piano 81 X 25 6:17:50 - 11:18:59 PM NYC [Gramavision 79452, 1987]
For decades, La Monte Young kept his tuning system a closely guarded secret, until Kyle Gann sat down with a calculator and an adjustable synthesizer and worked it out [see "La Monte Young's The Well-Tuned Piano," Perspectives of New Music 31: 1 (Winter 1993): 134-162]. Whether or not you understand the structure of perfect fifths and pure minor sevenths, or exactly what is improvised and what is structured, just one hour of the multi-hour extension quickly suspends time. This recording is from the 5-CD Gramavision set, with the composer at the keyboard, recorded in late October, 1981.

3. Eliane Radigue - Kyema: Intermediate States [XI 103, 1991]
Eliane Radigue's Kyema, from her Trilogie de Mort for analogue Arp synthesizer. Taking its inspiration from the Tibetan Book of the Dead, the six intermediate states are: Kyene (Birth), Milam (Dream), Samten (Contemplation), Chikai (Death), Chonye (Clear Light), Sippai (Becoming)

4. A snippet of Leif Inge's Beethoven Stretch

5. [[http://www.youtube.com/watch?v=yMqgPsdq9WU]]
Two hours of a youtube video stretching the Flight of the Bumblebee to over nine thousand percent its original length. Nikolai Rimsky-Korsakov's "Flight of the Bumblebee" is excerpted from Act III of the opera Tsar Saltan, and has recently inspired musicians to perform the work too quickly (world record speed guitar playing in 2008 and 2011, by Tiago Della Vega and John Taylor, respectively; Canadian violinists in 2010 and 2011 by Oliver Lewis and the aptly named Eric Speed, respectively) but this version goes in the opposite direction, taking what others have performed in a minute as the source for a one-hundred-and-thirty minute drone. The same poster, "hollohill" also has a file of a Rick Roll extended by almost as much.

Craig Dworkin is the author of Dure (Cuneiform, 2004), Strand (Roof, 2005), and Parse (Atelos, forthcoming). A suite of his poetry in translation was featured in Pleine Marge (no. 39). He teaches at the University of Utah, where he also edits [The UbuWeb Anthology of Conceptual Writing] and [Eclipse]. [http://www.ubu.com/concept/]

THE LONG NOW FOUNDATION: BREWSTER KAHLE — UNIVERSAL ACCESS TO ALL KNOWLEDGE

As founder and librarian of the storied Internet Archive (deemed impossible by all when he started it in 1996), Brewster Kahle has practical experience behind his universalist vision of access to every bit of knowledge ever created, for all time, ever improving.

In this lecture he discusses: Can we make a distributed web of books that supports vending and lending? How can our machines learn by reading these materials? Can we reconfigure the information to make interactive question answering machines? Can we learn from past human translations of documents to seed an automatic version? And, can we learn how to do optical character recognition by having billions of correct examples? What compensation systems will best serve creators and networked users? How do we preserve petabytes of changing data? [http://longnow.org/seminars/02011/nov/30/universal-access-all-knowledge/]

Courtesy of the Long Now Foundation. [http://longnow.org/]

CHARLIE: BUSY DOING NOTHING — SLOW PIANO SHOW — FOR RADIO BOREDCAST

Long pieces, slowly evolving structures, non-Western musical traditions, primitivism, and minimalism.  No sonatas. (Charlie Lewis)

Charlie Lewis has been compiling music since he got a tape recorder at age eight, but it was not until his involvement with WFMU that he was able to foist his musical conglomerations on the public at large. He has been doing just that, both at that beacon of freeform radio and at other stations, and also for fashion shows and such, since 1996. He has played in various combos ([http://bit.ly/tiWSoW]), and written lots of music ([http://bit.ly/tZEy2g]), but has yet to outdo this work ([http://bit.ly/vqiV0f]).  Charlie worked in broadcast audio and in the music business for many years, but now does the more honest work of selling patent medicine. [http://wfmu.org/playlists/CL]

[http://beingslowlynowhere.typepad.com/]

PLAYLIST
bed: Phillip Glass - Wichita Sutra Vortex - Solo Piano
Burmese Ensemble - Powerful King of Thunder and Lightning - White Elephants and Golden Ducks: Enchanting Musical Treasures from Burma
Steve Reich - Octet - Music for a Large Ensemble/Octet
bed: Runaways UK - Piano Toon - Classic Tales
Stravinsky - Augurs of Spring (2-piano arrangement) - Context 70 (various artists)
George Antheil - Sonata No. 1 for Piano and Violin, Fourth Movement - Music for Violin and Piano
Tom Johnson - The 2-, 3-, and 4-Part Chords - The Chord Catalogue
bed: Phillip Glass - Wichita Sutra Vortex
Emahoy Tsegué-Maryam Guèbrou - The Homeless Wanderer - Ethiopiques 21
Jeanne Lee and Ran Blake - Laura - The Legendary Duets
bed: Paul Dasken - Busy Day - Speckled Ax
Gyorgi Ligeti - Musica Ricercata II - Eyes Wide Shut (soundtrack)
Margaret Leng-Tan - Alvin Lucier: Nothing Is Real (Strawberry Fields) - Ghosts And Monsters: Technology And Personality
In Contemporary Music
Aki Takahashi - Guy Klucevsek: Monk's Intermezzo (I Want You) - Norwegian Wood: Hyper Music from Lennon and
McCartney
bed: Runaways UK - Piano Toon
Morton Feldman - Piece for Four Pianos - The Early Years

RADIO BOREDCAST: EARWORMS PART 1

Earworms is a show made by Vicki Bennett for Radio Boredcast addressing the ongoing problem of the Earworm. An earworm is a tune, a song, some sound that you get stuck in your head for hours, days... YEARS...

Vicki asked a few friends to share their "favourite" earworms. You might come away from this show with a little present from us. [http://peoplelikeus.org]

CLAY PIGEON: THE CORPULANT BRITISHER

Of the many amazing characters featured on The Dusty Show with Clay Pigeon, The Corpulant Britisher certainly knows how to take his time. [http://www.wfmu.org/playlists/CP]

DAVE SOLDIER AND KOMAR & MELAMID: THE PEOPLE’S CHOICE MUSIC

With the collaboration of composer Dave Soldier, Komar & Melamid's Most Wanted Painting project ([http://www.diacenter.org/km/index.html]) was extended into the realm of music. A poll, written by Dave Soldier, was conducted on Dia's web site in Spring 1996. Approximately 500 visitors took the survey. Dave Soldier and Nina Mankin used the survey results to write music and lyrics for the Most Wanted and Most Unwanted songs.

The Most Wanted Song: a musical work that will be unavoidably and uncontrollably “liked” by 72 ± 12% of listeners. The Most Unwanted Song: fewer than 200 individuals of the world’s total population will enjoy this.

This survey confirms the hypothesis that today’s popular music indeed provides an accurate estimate of the wishes of the vox populi. The most favored ensemble, determined from a rating by participants of their favorite instruments in combination, comprises a moderately sized group (three to ten instruments) consisting of guitar, piano, saxophone, bass, drums, violin, cello, synthesizer, with low male and female vocals singing in rock/r&b style. The favorite lyrics narrate a love story, and the favorite listening circumstance is at home. The only feature in lyric subjects that occurs in both most wanted and unwanted categories is “intellectual stimulation.” Most participants desire music of moderate duration (approximately 5 minutes), moderate pitch range, moderate tempo, and moderate to loud volume, and display a profound dislike of the alternatives.

The most unwanted music is over 25 minutes long, veers wildly between loud and quiet sections, between fast and slow tempos, and features timbres of extremely high and low pitch, with each dichotomy presented in abrupt transition. The most unwanted orchestra was determined to be large, and features the accordion and bagpipe (which tie at 13% as the most unwanted instrument), banjo, flute, tuba, harp, organ, synthesizer (the only instrument that appears in both the most wanted and most unwanted ensembles). An operatic soprano raps and sings atonal music, advertising jingles, political slogans, and “elevator” music, and a children's choir sings jingles and holiday songs. The most unwanted subjects for lyrics are cowboys and holidays, and the most unwanted listening circumstances are involuntary exposure to commercials and elevator music. Therefore, it can be shown that if there is no covariance—someone who dislikes bagpipes is as likely to hate elevator music as someone who despises the organ, for example—fewer than 200 individuals of the world's total population would enjoy this piece.

(Dave Soldier, June 1997) [http://www.davesoldier.com]

JEROEN VAN VEEN: GLASS — OPENING FROM GLASSWORKS

CHANCE, ALEATORY OR OPEN FORM MUSIC: SELECTED BY ZEPELIM

A selection of works related to chance, aleatory or open form music from the UbuWeb archives. [http://ubu.com/]
John Cage - "Fontana Mix - Feed, Nov. 6, 1967" realized by Max Neuhaus
La Monte Young, editor "An Anthology of Chance Operations" 1963, PDF
Karlheinz Stockhausen - Plus-Minus realized by Paik from WBAI-FM "Avant Garde Concert III"
Faubion Bowers & Daniel Kunin - The Electronics of Music from Aspen no. 4, item 5
Marcel Duchamp - Erratum Musical (for three voices) from The Music of Marcel Duchamp, 1991
Gordon Mumma - Horn, a coulisse from antiquity in the guise of an objet trouvé from Aspen No. 4, item 6
Krzysztof Penderecki - Psalmus (1961) from 40 Years of Polish Experimental Radio from Studio Warsaw
Earle Brown - December 1952 Concert, 23th July 1964 from Internationales Musikinstitut
John Cage - "A Dip in the Lake" realized by Robert Pleshar
Joan La Barbara - 73 Poems Texts by Kenneth Goldsmith, 1993
David Behrman - Runthrough from The Sonic Arts Union, 1971
Janek Schaefer — Skate from Random Play Record, 2001
Mineko Grimmer  - Tower With Garden from Artsounds
Various - Fluxus Anthology.30th Anniversary 1962 — 1992
Hansjörg Mayer - Typoactionen (1972)

Carlo Patrao is a 27 year-old native of Coimbra, Portugal. He attended the University of Coimbra and has been working
in radio since 2007. His education at RUC immersed him in the independent spirit of exclusively author-oriented radio programs free from the pressure of ratings, advertising, and profit-earning. Carlo began his radio career covering several areas of radiophonic activity, ranging from weekly shows featuring pop and folk music to more topical programs presenting cultural events, reviewing books and music, and promoting the work of local artists. In 2008, he created the program Zepelim with his friend Afonso Biscaia in order to explore the diverse possibilities of radiophonic space through the use of field recordings, experimental music, musique concrete, drones, archived sound and live improvisation. Episodes of Zepelim are 60-minute sound collages based on specific themes every month. The tracklists of sounds featured in each program are annotated in his[ blog]. [http://zeppelinruc.wordpress.com/]

DAVID TOOP: SLOW MUSIC — FOR RADIO BOREDCAST

Slow music is only slow in a relative sense but there is a certain tempo, certainly slower than the norm, that has hypnotised me for more than 40 years. The body feels as if it runs at a certain pace but this is surely just a trick of perception — everything is moving according to different cycles, the most extreme of which contrast the passing now which has already gone with our infinitesimal place in the extendedness of the universe. I listen to this slow music (examples that have sustained me for almost a lifetime) in order to feel adjusted to the pace at which I feel most myself. (David Toop)

David Toop is a composer/musician, author and curator who has worked in many fields of sound art and music, including improvisation, sound installations, field recordings, pop music production, music for television, theatre and dance. He has published five books, including Ocean of Sound, Haunted Weather, and Sinister Resonance: The Mediumship of the Listener. Exhibitions he has curated include Sonic Boom at the Hayward Gallery, London. [http://www.davidtoop.com]

KENNY G’S HOUR OF PAIN: SILENCE[http://www.wfmu.org/playlists/shows/36388][http://www.writing.upenn.edu/pennsound/x/Goldsmith.html]

 

[TOP]

DAVE SOLDIER AND SEAN HAGGERTY: CHOPIN’S WALTZ IN THIRTY MINUTES

An old musician's joke is on the order of "it takes him twenty minutes to play the Minute Waltz". Here is a live performance of a collaboration with the late Frederic Chopin and living electronic musician Sean Hagerty. Dave Soldier performs the Minute Waltz on the grand piano at Le Poisson Rouge very very slowly, lasting more than twenty minutes, while Hagerty stretches the sound of each piano note out over time. From the Minute Waltz (Op 64, number 1, 1847, live performance August 21, 2010). [http://davesoldier.com/experimental.html#Chopin]

JOHN CAGE: SELECTED BY JONATHAN LEIDECKER

Since 1990 Jon Leidecker has performed appropriative collage music under the psuedonym Wobbly, aiming for extended narratives spun from spontaneous yet coherent multi-sample polyphony. In the Variations podcast series at Radio Web MACBA Jon Leidecker reconstructs the history of sound appropriationism by looking at examples from 20th century composition, popular art and commercial media, and the convergence of all these trends today. [http://rwm.macba.cat/en/variations_tag/][http://detritus.net/wobbly/]

PLAYLIST

Imaginary Landscape
Roaratorio  (excerpt)
Credo in Us
Fontana Mix and Aria
Europera 3  (excerpt)
Rozart Mix
Variations IV - Excerpts from 10pm to 11pm
Williams Mix (Larry Austin Reconstruction)
Empty Words (excerpt)

JOHN CAGE: LECTURE ON NOTHING

GAVIN BRYARS: TRAMP WITH ORCHESTRA II — JESUS BLOOD NEVER FAILED ME YET

JOSE LUIS CASTILLEJO: THE BOOK OF J’S
A writer, like any other artist, does not create experiences. Art creates works while experiences are anybody's privilege. The editor of Alga Marghen has asked me for a record. As I am not a singer, not even always except in very intimate moments a poet that plays with words, it did occur to me that perhaps this new record should be the record of my writing "The Book of J's".

In all honesty I must say that the published version of "The Book of J's" was written by a machine, the computer. While this version that I am doing for Alga Marghen is written by myself, of my own hand, with pen, ink, and paper. It records the process of writing a book. Without this record the act of writing, the so called creative act, will be lost in the final result. It is the act of creation that has been recorded. In spite of all the noise about creation, creation itself is a quiet act done in recollection.  Perhaps not a big deal. But it is a quietness that results in a real work of the spirit. (Jose Luis Castillejo, Madrid, December 3, 1999)

CHRIS WATSON: SUKAU PART 1 — FOR RADIO BOREDCAST

Over a period of 5 days whilst in Borneo, I went out into the jungle before sunrise and set up a stereo recording system and left it running - something I never usually do. The results are really good and I have a collection of sunrise tracks in the Sukau rainforest of Sabah in Borneo over successive mornings with a range of bird and other animal sounds as well as the characteristic sounds of tropical rainforest; that is huge amounts of humidity and moisture slowly percolating down from the canopy 40m overhead. (Chris Watson)

Chris Watson is one of the world's leading recorders of wildlife and natural phenomena. In 1971 he was a founding member of the influential Sheffield-based experimental music group Cabaret Voltaire. His sound recording career began in 1981 when he joined Tyne Tees Television. Since then he has developed a particular and passionate interest in recording the wildlife sounds of animals, habitats and atmospheres from around the world. His television work includes Bill Oddie Back in the USA, Springwatch, Autumnwatch and The One Show. http://[www.chriswatson.net]

DANIELA CASCELLA: 31 DAYS, SLOW AND STILL

31 DAYS READING LE PONT MIRABEAU BY GUILLAUME APOLLINAIRE AT 8.30AM — FOR RADIO BOREDCAST

Le pont Mirabeau is a poem by Guillaume Apollinaire, published in his 1913 collection Alcools. In response to the theme and the structure of As Slow As Possible/Radio Boredcast, I chose to record myself reading Le pont Mirabeau at 8.30 in the morning for 31 days, anticipating and mirroring the duration of the broadcast in a different place and at a different time.

I chose this poem because of its slow flowing against its slowing into stillness — the flow of water, time and words in the stanzas against the circularity of time in the refrain. The adjective ‘slow’ appears still in the third stanza, the same one that contains ‘love’, ‘hope’, ‘violent’. The adjective ‘still’ appears slow in the refrain, as an impossibility. In the original French poem, ‘slow’ rhymes with ‘violent’ and ‘still I stay’ with ‘hours’.

The lack of punctuation throughout the poem calls not only for a flow of words, but also for different rhythms and meanings arising out of each reading. The readings always took place in my office, sometimes as dedicated recordings, sometimes while I was preparing to go out, sometimes while I was reading the paper or checking the news online. I learned the poem by heart, so sometimes the recordings mirror my small hesitations and gaps in recalling the verses. An old phonograph recording of Apollinaire reading the poem (from the Archives de Parole, Collection Phonothèque Nationale - Bibliothèque Nationale, Paris) supported some of the readings.

Daniela Cascella is a writer and curator based in London since 2009. Her research is focused on sound and on the way it seeps into other formats, most of all text. Her most recent projects explore and employ fictional tropes in writing criticism and descriptions of sound in fiction. She has recently finished writing her third book, En abÎme: a narrative across listening, reading and writing-as-landscape, as part of her research in the MFA Art Writing at Goldsmiths College that she completed in 2011. http://[www.danielacascella.com]

CHRIS WATSON: LUSKENTYRE — FOR RADIO BOREDCAST

Luskentyre is a 32-minute time compression of a cycle of the tide on a beach in the western isles of Scotland.

Chris Watson is one of the world's leading recorders of wildlife and natural phenomena. In 1971 he was a founding member of the influential Sheffield-based experimental music group Cabaret Voltaire. His sound recording career began in 1981 when he joined Tyne Tees Television. Since then he has developed a particular and passionate interest in recording the wildlife sounds of animals, habitats and atmospheres from around the world. His television work includes Bill Oddie Back in the USA, Springwatch, Autumnwatch and The One Show. http://[www.chriswatson.net]

PARAMANANDA: A MEDITATION ON THE BODY

From Change Your Mind - Body Awareness And Relaxation by [Paramananda]. Change Your Mind by Paramananda was one of the best-selling meditation books produced by the FWBO. Paramananda's considerable experience of meditation and in social work led him to an approach to sitting practice that tried to take account of the whole person, body and 'soul'. Judging by the popularity of his teaching he seems to have hit on something vital to forming an enduring positive relationship with meditation as a way to transform your sense of self and of life. Paramananda recorded taped audio guides to meditation for Dharmachakra in 1998, intended to complement his book. [http://www.freebuddhistaudio.com]

YOSHI WADA: LAMENT FOR THE RISE AND FALL OF THE ELEPHANTINE CROCODILE — SIDE B

YOSHI WADA: OFF THE WALL — PART 1

JOHN CAGE AND DAVID TUDOR: INDETERMINACY — PART 1 AND 2

In Zen they say: If something is boring after two minutes, try it for four. If it is still boring, try it for eight, sixteen, thirty-two, and so on.  Eventually one discovers that it's not boring at all but very interesting. (John Cage)

KENNETH GOLDSMITH: SEVEN AMERICAN DEATHS AND DISASTERS

Lecture by KENNETH GOLDSMITH 11.06.10

à Université Paris Est Marne-La-Vallée, Cité Descartes

Kenneth Goldsmith's writing has been called some of the most [exhaustive and beautiful collage work yet produced in poetry] by Publishers Weekly. Goldsmith is the author of ten books of poetry, founding editor of the online archive [UbuWeb], and the editor [I'll Be Your Mirror: The Selected Andy Warhol Interviews]. From 1996-2009, Goldsmith was the host of a weekly radio show on New York City's [WFMU]. He teaches writing at [The University of Pennsylvania], where he is a senior editor of [PennSound], an online poetry archive. In 2011, he co-edited, [Against Expression: An Anthology of Conceptual Writing] and published a book of essays, [Uncreative Writing: Managing Language in the Digital Age]. In May 2011, he was invited to read at The White House for President and Mrs. Obama's "A Celebration of American Poetry." Goldsmith will participate in [dOCUMENTA(13)] in Kassel, Germany, 2012. [http://epc.buffalo.edu/authors/goldsmith/]

ERGO PHIZMIZ SINGS GILBERT AND SULLIVAN: THE PIRATES OF PENZANCE — FOR RADIO BOREDCAST

Around the age of 11 or 12 I became obsessed with the comic operettas of Gilbert & Sullivan. This fascination lasted around 3 years. There were posters of W.S. Gilbert (the "S" stands for Schwenck, rather spectacularly) and Arthur Sullivan on my bedroom wall.

For years the thought of returning to their works "from memory" has been at the back of my mind. My very boring contribution to Radio Boredcast is "acappella" versions of the G & S operettas "HMS Pinafore", "Iolanthe", "The Pirates of Penzance" and "The Mikado".

Some of them I know better than others. In the cases where I didn't know the melodies, I made them up or roughly talked through them. I also decided to not use different voices for characters (these recordings are my second takes - the first takes sounded like The Goon Show and to be honest I had far too much fun doing them for it be genuinely boring), and to omit stage directions, so we are left with a very boring barrage of Victorian words, tuned and untuned, from my tired, monotone voice.

Ergo Phizmiz is a composer, writer, and multimedia artist. He makes pop, theatre, installations, opera, radio-art, radioplays, sound-collages and performances. He lives in Bridport, UK, and has a headache. He never wants to perform Gilbert & Sullivan again. [http://ergophizmiz.net]

RADIO WEB MACBA PRESENTS: COMPOSING WITH PROCESS — PERSPECTIVES ON GENERATIVE AND SYSTEMS MUSIC #4.1. TIME.

BY MARK FELL AND JOE GILMORE  

Ràdio Web MACBA is the Museu d'art contemporani de Barcelona (MACBA) online radio project. [http://rwm.macba.cat]

This episode explores the concept of duration in music. It examines the different ways that composers and musicians have explored duration in terms of both the large and small. Bringing together ideas and theories of the engineer Denis Gabor and composers Iannis Xenakis and Curtis Roads, this episode examines early tape and computer music works using granular and pulsar synthesis. The show closes with a focus on two recent treatments of time in music: by the German artist Hanne Darboven and media producer Terre Thaemlitz. [http://rwm.macba.cat/en/research/composingwithprocess_5_mark_fell_joe_gilmore/capsula]

RADIO BOREDCAST PRESENTS... KENNETH GOLDSMITH  

Kenneth Goldsmith's writing has been called some of the most [exhaustive and beautiful collage work yet produced in poetry] by Publishers Weekly. Goldsmith is the author of ten books of poetry, founding editor of the online archive [UbuWeb], and the editor [I'll Be Your Mirror: The Selected Andy Warhol Interviews]. From 1996-2009, Goldsmith was the host of a weekly radio show on New York City's [WFMU]. He teaches writing at [The University of Pennsylvania], where he is a senior editor of [PennSound], an online poetry archive. In 2011, he co-edited, [Against Expression: An Anthology of Conceptual Writing] and published a book of essays, [Uncreative Writing: Managing Language in the Digital Age]. In May 2011, he was invited to read at The White House for President and Mrs. Obama's "A Celebration of American Poetry." Goldsmith will participate in [dOCUMENTA(13)] in Kassel, Germany, 2012. [http://epc.buffalo.edu/authors/goldsmith/]

PLAYLIST

Kenneth Goldsmith Discussing Poetry Day at the White House on WFMU, May 18, 2011
Introduction to "Fidget" at the Kelly Writers House
Fidget - 15:00 
Uncreativity as a Creative Practice - The Line Reading Series, The Drawing Center, NYC
The Special Story of "Miracles" - The Kenny G Letters
From Day 
Kenneth Goldsmith Sings Baudrillard
The Last Acts of St. Fuck You 
Why Johnny Cash is Cooler than Henry Rollins 
Eighteen Earrers
Slobodan Milosevic and Kenny G - The Kenny G Letters
Kenneth Goldsmith Sings Adorno, Part 1
The Ayatollah of Rock and Rollah 
Part of 12:00 - Fidget
Kenneth Goldsmith Sings Nada Gordon 
Excerpt from Head Citations
Lunch Poets - Being Boring at the Kelly Writers House 
Lunch Poets - Question And Answers at the Kelly Writers House
17:00 - Fidget

LEIF ELGGREN AND THOMAS LILJENBERG: 9.11 — DESPERATION IS THE MOTHER OF LAUGHTER (EXCERPT)
"As close as you can get to us."

Between 1995 - 96 the artist´s Thomas Liljenberg and Leif Elggren wrote over 200 letters to powerful and famous persons and institutions all over the world. Accusing the receivers for stealing ideas from the artist's unconscious dreamlife and at the same times call for economical compensation. Almost every letters ends with: "Send us money on Swedish postal number..."

The whole correspondence is published as a book ("Experiment with Dreams", Firework Edition 1996). Illustration and a informative preface together with the letters makes the book a comprehensible but horrifying reflection of the social and economical state of the world today.

Together with the book Experiment with Dreams there was a CD released called Zzz... ("As close as we can get to the dream."). This new CD, 9.11, is in many ways a development from the Zzz... and is closely related to the forthcoming book The Answers.

DO OR DIY WITH PEOPLE LIKE US: 1234 — PART 1 — FOR RADIO BOREDCAST

1234 is a show all about counting in music, sound art, poetry and lunacy.

DO or DIY is a freeform sound art radio show broadcast weekly by Vicki Bennett (People Like Us) on WFMU. The philosophy behind the show is simple. That within the realms of avant-garde and experimental sound art the goalposts defining "accessible" and "inaccessible" are constantly moving. As the radar rises and dips, fragments and shards of underground creations unearth, and popular culture and artist resonate, shifting shapes accordingly with one another in reflections of changing spotlights. Each show consists of collages made of sound works from the 20th and 21st century, often layered and looped many times over, resulting in an album type effect on each show. [http://www.wfmu.org/peoplelikeus]

PLAYLIST
Owada - Hello
Ergo Phizmiz - Symphonie Vum - First Movement
Philip Glass and Robert Wilson - Knee Play
YOUR DJ SPEAKS Mystic Moods Orchestra - Theme From A Summer Place
Daniel Levitin - Anticipation
Roman Opalka - 1 To Infinity
Owada - Up Plus Down
I'm On My Journey Home - Eephing
Sten Hanson - La Destruction De Votre Code Genetique Par Drogues Toxins Et Irradiation
YOUR DJ SPEAKS Bruce Nauman - Rhythmic Stamping
Steve Reich - Clapping Music
Letter People - Miss I
Eugene Brice - Consonants
Patrick Ireland - Vowel Drawing
Owada - Circle
Kelly Mark - I Really Should
YOUR DJ SPEAKS Mystic Moods Orchestra - Theme From A Summer Place
Elisabeth Claire Prophet - Great Divine Rectors
Livestock Auctioneers (1964)
Otto Muehl - Psycho-Motorik - Jodler
Livestock Auctioneers (1963)
Owada - Low
Livestock Auctioneers (1967)
Bobby Joe Carter - Doe A Deer
YOUR DJ SPEAKS Mystic Moods Orchestra - Theme From A Summer Place
Vito Acconci - Under History Lessons 1976
Letter People - Mr D.
Speech Accent Archive
YOUR DJ SPEAKS Mystic Moods Orchestra - Theme From A Summer Place
Richard Nonas - What Do You Know
Ollie Halsall And John Halsey - Bum Love

CAROLINE BERGVALL PRESENTS — FOR RADIO BOREDCAST

Caroline Bergvall is a writer and artist. Projects alternate between books, audio pieces, performances and language installations. Latest book: Meddle English: New and Selected Texts (Nightboat Books, 2011). Latest solo show: Middling English (John Hansard Gallery, 2010).
[http://www.carolinebergvall.com]

PLAYLIST
Voice - Caroline Bergvall 
Shorter American Memory - Rosmarie Waldrop 
Invocation - Caroline Bergvall 
A Priori - Rachel Zolf 
Unrelated Incidents, No. 3 - Tom Leonard 
Wash - Caroline Bergvall
Transformation Hymn - Lee Ann Brown 
To Hell - Eileen Myles
Catullus #48 - Bernadette Mayer
A Blessing in Disguise - John Ashbery
Pass - Caroline Bergvall 
Souls of the Labadie Tract Track 1 - David Grubbs/Susan Howe
Live Fondation Cartier Paris - J. Giorno, P. Oliveros, Fred Frith
Ritual with Giant Hissing Madagascar Cockroaches (Excerpt) - Miya Masakoa
Roaches - Joe Brainard
Feed - Caroline Bergvall 
Song - Caroline Bergvall 
Lidl Suga A - C Bergvall
Lidl Suga S - C Bergvall/ Ciaran Maher 
Birdcalls - Louise Lawler 
MontBlanc - Shelley/read by Caroline Bergvall 
Fold - Caroline Bergvall
Corset - Anne Waldman/Ambrose Bye
Rally - Meredith Monk
Dream - Caroline Bergvall 

DAVE SOLDIER: TIMELESS RADIO PROJECT — FOR RADIO BOREDCAST

Timeless Music, explains the two physical dimensions of music and approaches to manipulate them, with musical examples.

For recorded music, the dimensions are air pressure amplitude and time: and for composed music the dimensions are frequency and time. We explore some approaches for how one can play with these dimensions, for example using fractal patterns with partial dimensions, so that issues like tempo become undefined, and the length of music become ambiguous.

The show includes explanations / illustrations of how to make deliberate fractal patterns in music, Fourier transform music and even a straightfoward explanation of white noise. (These are really not hard, and I'd like to think I explain them with minimal jargon.)

Exploring this direction, I have prepared some math music:

The variations on Chopin's Minute Waltz uses integrals, derivatives, averages, and more.

My third string quartet, "The Essential" consists of mathematical variations on the second movement of Arnold Schoenberg’s Second Quartet, and can be heard and the score downloaded from the[ Scores] page. It includes a derivative movement, an integral (very short), a fractal movement, and a Fourier transform.

Olivia Porphyria, a fractal on Haydn's name, from Organum can also be heard and the score downloaded from the Scores page at: [http://www.davesoldier.com]

Here are scores for two other fractal pieces for trombone and two guitars, [Fractal on the Name of Haydn] ([http://davesoldier.com/scores/FractalHaydn4.30.Frets.pdf]) and [Fractal on the Name of Bach] ([http://davesoldier.com/scores/FractalBach4.30.pdf]). For clarity, though, I advise starting with the Fractal Variation in "The Essential Quartet" (see score page) which is easier to follow and is essentially equivalent to a Koch snowflake pattern.

Why haven't integrals and derivatives been used to compose? It's not hard. Here's a mini-lesson on making a derivative or integral version of a musical theme:

Use a C major scale, CDEFGABC

Assigning a number to each note, here starting at 0=C, the scale is

0,2,4,5,7,9,11,12

For a first derivative, subtract each note from the preceding note,

(0),2,2,1,2,2,2,1

Which using the original scale tones would be

C,D,D,Db,D,D,D,Db: voila'! the first derivative

To integrate the derivative add each number to the previous,

(0),2,4,5,7,9,11,12: which returns the original scale

Integrate the original scale, and you'll see why integrals of the music rapidly go beyond the range of hearing! Examples are in the Essential Quartet and the Chopin Variations below, both with very short integral movements.

Dave Soldier leads a double life as a musician and a neuroscientist. As a composer, he developed a repertoire for groups including the Thai Elephant Orchestra, 14 elephants for whom he built giant instruments and who released 3 CDs, and projects with children, including rural Guatemala (Yol Ku: Mayan Mountain Music) and New York's East Harlem (Da HipHop Raskalz). His Soldier String Quartet helped usher the use of hiphop, R&B, and punk rock into classical music in the 1980s, and his long-running Memphis/New York Delta punk band, the Kropotkins, is a cult favorite. His composed The People's Choice Music: the most wanted and unwanted songs, following poll results of likes and dislikes of the American population, with artists Komar & Melamid; song cycle/oratorios in collaborations with Kurt Vonnegut, and many chamber and classical works. As a performer and arranger, he worked with John Cale, Bo Diddley, Van Dyke Parks, David Byrne, and many jazz and avant garde acts, appearing on over 100 albums and films on violin, guitar, or arranger. As David Sulzer, he is a neuroscientist and Professor at Columbia University in the Departments of Psychiatry and Neurology. [http://davesoldier.com/experimental.html]

MATMOS: MUSIQUE CONCRETE HOUR 1 — FOR RADIO BOREDCAST

In response to the invitation to contribute sound, which somehow speaks to the stated theme of slow audio, we have decided to focus upon musique concrete and its aftermath. The original practitioners of the musique concrete tradition - which was a global phenomenon, and not simply a continental one as it often supposed - had to work carefully, methodically, and above all, slowly. In order to capture, manipulate, process and assemble their work, decisions had to be made and enacted, plans drawn up, trials conducted and errors removed. Lots of painstaking, hands on work stands behind each edit, each cut, each splice, each pass through a filter or into a process. The music soaks up and stores time, and it plays with time as a basic material. This music is both intensive and extensive in its demands upon its creators and its listeners. That said, we have not narrowly emphasized only the pioneers, but have sought to draw some connections between the first generation and subsequent audio, which seems to us to draw inspiration from this methodology. Slow down and enjoy.

Matmos is M.C. Schmidt and Drew Daniel, aided and abetted by [many others]. In their recordings and live performances over the last nine years, Matmos have used the sounds of: amplified crayfish nerve tissue, the pages of bibles turning, a bowed five string banjo, slowed down whistles and kisses, water hitting copper plates, the runout groove of a vinyl record, a $5.00 electric guitar, liposuction surgery, cameras and VCRs, chin implant surgery, contact microphones on human hair, violins, rat cages, tanks of helium, violas, human skulls, cellos, peck horns, tubas, cards shuffling, field recordings of conversations in hot tubs, frequency response tests for defective hearing aids, a steel guitar recorded in a sewer, electrical interference generated by laser eye surgery, whoopee cushions and balloons, latex fetish clothing, rhinestones on a dinner plate, Polish trains, insects, ukelele, aspirin tablets hitting a drum kit from across the room, dogs barking, people reading aloud, life support systems and inflatable blankets, records chosen by the roll of dice, an acupuncture point detector conducting electrical current through human skin, rock salt crunching underfoot, solid gold coins spinning on bars of solid silver, the sound of a frozen stream thawing in the sun, a five gallon bucket of oatmeal. [http://brainwashed.com/matmos/bio/]

FELIX KUBIN: MOTHER IN THE FRIDGE — FOR RADIO BOREDCAST

A radio play without a script by Felix Kubin. "Mother in the Fridge" is based on a phone conversation between my mother and me. I recorded this call spontaneously in order to take revenge on the many words that I am carrying around with me.

My mother loves to talk and she loves to talk in English. As I knew of the Radio Boredcast project of my friend Vicki Bennett, I suddenly decided to make this a long conversation in English with a lot of twists and little stories and some experiments with my mobile phone. I started to place the phone (=my mother) in all kinds of different sonic environments in order to test the corresponding acoustics and see what it does to the imagination of the listener. This idea led to a playfully improvised radio drama about early reflections on late memories.

Most people who take a call from my mother don't get away with a talk under 40 minutes. That's why this radio play has a duration of 40 minutes. The remaining music of the one hour show contains improvisations by Fritz Ostermayer and me while preparing for a lecture on the Austrian anarchist Herbert Müller-Guttenbrunn in November 2010. (Felix Kubin, Hamburg, December 2011).

Felix Kubin is a composer, radio-playwright, curator and media artist. He began recording and performing experimental electronic pop music at the age of 12. In the 1990s he turned to electroacoustic noise music and formed “Klangkrieg” with Tim Buhre. From 1992-1994 he co-organised artistic political interventions with the Dada-communist Party KED and the “Liedertafel Margot Honecker” singing group, whose notorious actions received wide media coverage. In 1998 Kubin started to produce Futuristic pop music and launched the independent record label “Gagarin Records”. Over the past decade he has performed at eighty international music and media arts festivals including Sonar, Club Transmediale, Mutek, ISEA, Wien Modern and Ars Electronica. Since 2001, Kubin has been writing and producing radio plays for national radio stations WDR, BR, DR, SWF and Vienna’s ORF Kunstradio. [http://www.felixkubin.com]  

MICHAEL RUBY: FIRST NAMES

I wrote “First Names” in the late spring and summer of 1989 on my subway rides to work—the R train from Union St. in Brooklyn to Cortlandt St. in Lower Manhattan. It’s the only work I’ve ever written on my subway rides. I’m not sure how I got the idea for it. My girlfriend Louisa Wood had a book lying around about the astrological significance of first names. We were getting married that summer, putting together endless lists of people we wanted to invite to the wedding. We were also reaching that point in life when we started thinking about names for children. In any event, I wanted to make something out of all the people in my mind, all the names in my mind, people I’d known or heard of or imagined. I wanted to represent a society, a world. In general, during that time, I was striving in my poetry to represent simultaneity and the endlessness of experience. (Michael Ruby)

Michael Ruby is the author of five poetry books: At an Intersection (Alef, 2002), Window on the City (BlazeVOX, 2006), The Edge of the Underworld (BlazeVOX, 2010), Compulsive Words (BlazeVOX, 2010) and The Star-Spangled Banner (Dusie, 2011). His trilogy, Memories, Dreams and Inner Voices, is forthcoming in Spring 2012 from Station Hill Press, and includes Fleeting Memories, an Ugly Duckling Presse ebook, and Inner Voices Heard Before Sleep, an Argotist Online ebook; his poetry book American Songbook is forthcoming in Fall 2012 from Ugly Duckling.  A graduate of Harvard College and Brown University’s writing program, he lives in Brooklyn and works as an editor of U.S. news and political articles at The Wall Street Journal.

As Slow As Possible Statement

In the 1980s, when I was in my twenties, I tried and failed to write a manifesto about poetry. It began: Poems slow the reader down. A good story makes readers want to leap ahead and find out what happened. A good poem makes readers slow to a halt, lose themselves in the present of these few words, perhaps even going backward, realizing that there's more in what they passed than they thought. It forces them to regard each word, to try to join the writer in selecting each word. Words break free from their contexts. If we accept the view of Roman Jakobson, in fiction and nonfiction, the communication/mimesis predominates; in poetry, the words themselves predominate.  The signifier over the signified.

LANGUAGE poetry, by destroying conventional syntax, by putting words next to each other that don't normally go together, forces the reader to read one word at a time.  In a formal sense, it's pure poetry.  But what a sacrifice it makes to guarantee its purity.  Compare Clark Coolidge and Shakespeare, which is also pure poetry.

One way the writer causes the reader to slow down is by writing one word at a time.  However, prose can be written that way, too.  So what lets poetry further "charm" language?  The weight at the end of each line that we have to keep pushing aside? The cliche that a poem can't be paraphrased is another way of saying this. It's this that makes Stein and Zukofsky such radical figures in our tradition, though perhaps descendants of Rimbaud and Mallarme, who, in “Un Coup...,” partially accomplished this by spacing out the words.

RADIO WEB MACBA PRESENTS: INTERVIEW WITH RICK PRELINGER

Ràdio Web MACBA is the Museu d'art contemporani de Barcelona (MACBA) online radio project. http://rwm.macba.cat

Rick Prelinger is an archivist, writer, filmmaker, and outsider librarian. For the past twenty-five years, the founder of the Prelinger Archives has amassed film material that is generally ignored by traditional archives, resulting in a collection that prioritizes access and reuse as methods of preservation. Rick has partnered with the Internet Archive (of which he is a board member) to make 2,100 films available online for free viewing, downloading and reuse. With Megan Prelinger, he's co-founder of Prelinger Library, an appropriation-friendly private research library open to the public in downtown San Francisco. Rick Prelinger speaks on the future of archives and issues relating to access to archives and culture. [http://rwm.macba.cat/en/sonia/rick_prelinger/capsula]

NANCY O GRAHAM: SOMNILOQUY CYCLE — DIFFERENT KINDS OF MARKS

Nancy Oarneire Graham creates somniloquies, or recorded sleeptalk, by repetitively reading a short text—whether from a children's story, a work of nonfiction, or her own dreams—until she begins to fall half asleep. In the twilight state between waking and sleeping, known as the hypnagogic state, visions, half-formed thoughts, and stray words begin to interrupt those read from the page, opening a window onto this borderland.

1. COMMA
And what does a comma do, a comma does nothing but make easy a thing that if you like it enough is easy enough without the comma. A long complicated sentence should force itself upon you, make you know yourself knowing it and the comma, well at the most a comma is a poor period that it lets you stop and take a breath but if you want to take a breath you ought to know yourself that you want to take a breath.
—Gertrude Stein, “Poetry and Grammar”

2. FETTERS
Stories are just words. And words are just letters. And letters are just different kinds of marks.
—Crockett Johnson, Magic Beach

3. DUCK TO AVOID BEING CHOPPED
So long as the words keep coming nothing will have changed, there are the old words out again. Utter, there’s nothing else, utter, void yourself of them, here as always, nothing else. But they are failing, true, that’s the change, they are failing, that’s bad, bad.
—Samuel Beckett, “Texts for Nothing 2”

the trees were witness
complete with joys and sorrows
seeing the immensity to measure and that heads are
only wound up once,
bristles waiting to depart or let fall to the ground
in the great limpness of sleep, perhaps dreaming
it's in heaven, alit in heaven.
—Samuel Beckett, "Texts for Nothing"

Nancy Oarneire Graham's somniloquy-based poems and prose have appeared in print and online publications, including BlazeVOX, Café Irreal, Chronogram, Eratio, Invisible City, New Verse News, Pindeldyboz, Prima Materia, Listening in Dreams (by Carol Ione), and Water Writes (edited by Larry Carr). She has performed somniloquies as part of the Deep Listening Institute's Dream Festival in Kingston, New York. Her chapbook, somniloquies, is available from Pudding House Publications. [http://ngram.net/]

NICK THE BARD SINGS — SLAYER — SEASONS IN THE ABYSS: ON KENNY G’S SHOW ON WFMU
[http://www.wfmu.org/playlists/shows/29747]

DO OR DIY WITH PEOPLE LIKE US: BLATHER — PART 1 — FOR RADIO BOREDCAST

Blather is a 3 part series made specially for Radio Boredcast, taking us on a journey through all the kinds of sounds that the mouth makes, whether that be for artistic, comedy, practical, mind-altering, religious or work reasons. 

DO or DIY is a freeform sound art radio show broadcast weekly by Vicki Bennett (People Like Us) on WFMU. The philosophy behind the show is simple. That within the realms of avant-garde and experimental sound art the goalposts defining "accessible" and "inaccessible" are constantly moving. As the radar rises and dips, fragments and shards of underground creations unearth, and popular culture and artist resonate, shifting shapes accordingly with one another in reflections of changing spotlights. Each show consists of collages made of sound works from the 20th and 21st century, often layered and looped many times over, resulting in an album type effect on each show. [http://www.wfmu.org/peoplelikeus]

PLAYLIST
Lollipops - Mah Na Mah Na
Christian Bök - Synth Loops
Jaap Blonk and Radboud Mens - Blaf
Audrey Saint-Coeur - Diddlage
John MacDonald - Strathspey
Elisabeth Claire Prophet - Call For Protection
Paul Dutton - M's 'N' M's
The Swingle Singers - Mission Impossible
Hollerin'
Tobacco Auctioneering
YOUR DJ SPEAKS over Percy Faith - Summer Place '76
Henri Chopin - Les Corps Est Une Usine A Son (excerpt)
Paul Dutton - Lips Is
Arrigo Lora Totino - Rumore D'Ombra (1983)
Language Removal Services - From The Static Language Sampler
Language Removal Services - Marilyn Monroe
Colin Anderson - Whistles The First 19 Articles - Basic Law Of The Federal Rebublic Of Germany (1949)
Evil Internet
Yoko Ono - Cough Piece
Ricardo Dal Farra - Due Giorni Dopo
Jörg Piringer - Did
Hallgrímur Valjálmsson - Serenade For Six German Sirens Op.43
The Three Tendons - Girl From Ipanema
The Three Tendons - The Good, The Bad and the Ugly
Space Ghost - Mah Na, Mah Na
Unknown - I'm A Bad Boy
YOUR DJ SPEAKS over Percy Faith - Summer Place '76
Stephan Dillemuth - Erdmusik
Adachi Tomomi Royal Chorus - Yimiko
Bali - The Celebrated Gamelan - Ketjak or Monkey Dance [excerpts]
Huutajat - Land Der Berge
Inuit Throat Singing
Italie, Sardaigne - Chant d'Hommes Tenore
Huun Huur Tu - Chylandyk
Huun Huur Tu - Dadyr-Todur (Sound of a Horse Trotting)
Polyphonic Singing From Sardinia -Gosos Di San Gavino
Princess Ramona - Then I Start To Yodel
YOUR DJ SPEAKS over Percy Faith - Summer Place '76
Barrio Sesamo - Mah Na Mah Na (Sesame Street)

OVER THE EDGE: MUSIC IS

[MUSIC IS... PART ONE], May 14, 2009

What’s music? After some remote ID housekeeping, we tackle the sticking question of music — what is it? How does it work? How do our ears hear music? How does our brain hear music and why? Skipping and cutting, stealing and manipulating, we mix a couple recent Negativland pieces on the subject of music, released and unreleased, as well as Industrial Show Music, Patsy Cline falls to pieces, and some old OTE phone karaoke. This all keeps going at a relatively loud and fast pace. [http://www.negativland.com/ote/?p=1021]

Over the Edge (or, OTE) is a sound collage radio program hosted and produced by Don Joyce. Joyce is also a member of the pioneering sound collage band Negativland, members of which frequently make guest appearances on Over the Edge. A series of Over the Edge episodes have been released under the Negativland name.

Founded in 1981, OTE is broadcast live on KPFA in Berkeley, California, every second, third, and fourth Thursday morning from 12am to 3am. On the rare occasion of a month with a fifth Thursday OTE runs an additional two hours, from 12am to 5am. The show is also available on-line, streamed live from KPFA.org (where you can also podcast the show), or from Negativland.com, where many older episodes are available as well.

CHRIS WATSON: SUKAU — PART 1 — FOR RADIO BOREDCAST

Over a period of 5 days whilst in Borneo, I went out into the jungle before sunrise and set up a stereo recording system and left it running - something I never usually do. The results are really good and I have a collection of sunrise tracks in the Sukau rainforest of Sabah in Borneo over successive mornings with a range of bird and other animal sounds as well as the characteristic sounds of tropical rainforest; that is huge amounts of humidity and moisture slowly percolating down from the canopy 40m overhead. (Chris Watson)

Chris Watson is one of the world's leading recorders of wildlife and natural phenomena. In 1971 he was a founding member of the influential Sheffield-based experimental music group Cabaret Voltaire. His sound recording career began in 1981 when he joined Tyne Tees Television. Since then he has developed a particular and passionate interest in recording the wildlife sounds of animals, habitats and atmospheres from around the world. His television work includes Bill Oddie Back in the USA, Springwatch, Autumnwatch and The One Show. http://[www.chriswatson.net]

MON 5 MARCH: 7.26AM

POREST: MOROCCO, JORDAN, SYRIA, TURKEY, LAOS, THAILAND — FOR RADIO BOREDCAST

Don’t be put off by this rote and obvious title. Instead, be loosely transported from west to east — Morocco to Thailand - via sound, music and radio transmissions recorded between the years 1997 & 2010 in the aforementioned locations.

Porest — aka Mark Gergis is a composer, performer, producer and international audio/visual archivist. Under the name Porest, he has released several solo and group efforts incorporating multi-layered music, pop songs, audio collage, field recordings, and surrealistic radio dramas. Gergis was a co-founder of the experimental Bay Area music and performance collective Mono Pause (1993 -2004) and its offshoot Neung Phak, which performs inspired renditions of music from Southeast Asia. Since 2003, with the Sublime Frequencies label, an ethnographic music and film collective out of Seattle, Washington — and more recently, with his own record label — Sham Palace, Mark has found a platform to aptly share decades of research and countless hours of archived international music, film footage and field recordings acquired during extensive travels in the Middle East, South East Asia and elsewhere. Mark has managed and produced Syrian singer Omar Souleyman and his group from Northeastern Syria since 2006. [http://www.porestsound.net/home]

NULA PRESENTS... - FOR RADIO BOREDCAST

55874 consists of an elaborate construction of sound drawn from tracks of the optical sound, as well as ferrous, varieties: heavily treated sound from scratchy old movies, and a collector's recording of steam locomotives.

nula.cc began in 2009 as a series of filecasts emanating from an online presence. The aim of the project has been left somewhat vague, which serves a twofold purpose: to allow for free experimentation with the understanding that outcomes are necessarily unpredictable; and, to let the online collection and the works it contains speak for themselves as much as possible.

As it turns out, a substantial number of the nula filecasts are audio works (though video and other media also appear in the collection). Many of these audio works are "slow" in the sense that they unfold gradually (if at all) or set an atmospheric tone that runs for an extended time. This, too, serves a dual purpose: it allows for a kind of "deep" listening (if you're into that); and it also allows the work to be used atmospherically as a backdrop to other experiences.I  have assembled several sequences, each combining sound from two or three of the filecasts, sometimes substantially altered from the versions that appear at [nula.cc]. i have tried to make each sequence work as a cohesive whole. I invite listeners to visit nula.cc and explore there for further works of this kind.

Lloyd Dunn, Prague, 2011, [http://nula.cc/]

KBZ200: THE EXOTIC TRILOGY

The KBZ 200 presents 18-hour performances where different cover versions of three exotic songs (Taboo, Caravan, and Quiet Village) are repeated endlessly, both from mouldy vinyl presentations and from live musical performances and re-enactments. This is set in a tableau of ersatz exoticism manifested by continuous projection of travelog films of exotic locations, processions of large tiki-god heads, pullulating maneouvres of coconut bras oozing sweet nectar, and bread hats flamed during exotic food preparation. This is the mouldy reincarnation of orchid rot, the impacted nectarine vexations of Baghdadianism; an hommage to the performance artist Jack Smith. Collaboration with Gordon W. and Laura Kikauka, Gordon Monahan and members of KB Zed.

Vexations (1893) by Erik Satie was an extremely avant garde work when it was composed. Approximately 50 years later, the concept of 'furniture music' was co-opted by the Muzak Corporation and used as background shopping music. The KB Zed takes 3 songs often heard as shopping music and uses them to create this ersatz exotic tableau that returns the music to its primitive state, causing delirious frenzy amongst listeners subjected to a full 18-hour listening. [http://www.gordonmonahan.com/pages/kbz.html]

MON 5 MARCH: 8.59AM

NULA PRESENTS... FOR RADIO BOREDCAST

55874 consists of an elaborate construction of sound drawn from tracks of the optical sound, as well as ferrous, varieties: heavily treated sound from scratchy old movies, and a collector's recording of steam locomotives.

nula.cc began in 2009 as a series of filecasts emanating from an online presence. The aim of the project has been left somewhat vague, which serves a twofold purpose: to allow for free experimentation with the understanding that outcomes are necessarily unpredictable; and, to let the online collection and the works it contains speak for themselves as much as possible. 

As it turns out, a substantial number of the nula filecasts are audio works (though video and other media also appear in the collection). Many of these audio works are "slow" in the sense that they unfold gradually (if at all) or set an atmospheric tone that runs for an extended time. This, too, serves a dual purpose: it allows for a kind of "deep" listening (if you're into that); and it also allows the work to be used atmospherically as a backdrop to other experiences.I  have assembled several sequences, each combining sound from two or three of the filecasts, sometimes substantially altered from the versions that appear at nula.cc. i have tried to make each sequence work as a cohesive whole. I invite listeners to visit nula.cc and explore there for further works of this kind.

Lloyd Dunn, Prague, 2011, [http://nula.cc]

MON 5 MARCH: 9.31AM

KBZ200: THE EXOTIC TRILOGY

The KBZ 200 presents 18-hour performances where different cover versions of three exotic songs (Taboo, Caravan, and Quiet Village) are repeated endlessly, both from mouldy vinyl presentations and from live musical performances and re-enactments. This is set in a tableau of ersatz exoticism manifested by continuous projection of travelog films of exotic locations, processions of large tiki-god heads, pullulating maneouvres of coconut bras oozing sweet nectar, and bread hats flamed during exotic food preparation. This is the mouldy reincarnation of orchid rot, the impacted nectarine vexations of Baghdadianism; an hommage to the performance artist Jack Smith. Collaboration with Gordon W. and Laura Kikauka, Gordon Monahan and members of KB Zed.

Vexations (1893) by Erik Satie was an extremely avant garde work when it was composed. Approximately 50 years later, the concept of 'furniture music' was co-opted by the Muzak Corporation and used as background shopping music. The KB Zed takes 3 songs often heard as shopping music and uses them to create this ersatz exotic tableau that returns the music to its primitive state, causing delirious frenzy amongst listeners subjected to a full 18-hour listening. [http://www.gordonmonahan.com/pages/kbz.html]

NULA PRESENTS... FOR RADIO BOREDCAST

55874 consists of an elaborate construction of sound drawn from tracks of the optical sound, as well as ferrous, varieties: heavily treated sound from scratchy old movies, and a collector's recording of steam locomotives.

nula.cc began in 2009 as a series of filecasts emanating from an online presence. The aim of the project has been left somewhat vague, which serves a twofold purpose: to allow for free experimentation with the understanding that outcomes are necessarily unpredictable; and, to let the online collection and the works it contains speak for themselves as much as possible. 

As it turns out, a substantial number of the nula filecasts are audio works (though video and other media also appear in the collection). Many of these audio works are "slow" in the sense that they unfold gradually (if at all) or set an atmospheric tone that runs for an extended time. This, too, serves a dual purpose: it allows for a kind of "deep" listening (if you're into that); and it also allows the work to be used atmospherically as a backdrop to other experiences.I  have assembled several sequences, each combining sound from two or three of the filecasts, sometimes substantially altered from the versions that appear at nula.cc. i have tried to make each sequence work as a cohesive whole. I invite listeners to visit nula.cc and explore there for further works of this kind.

Lloyd Dunn, Prague, 2011, [http://nula.cc]

MON 5 MARCH: 9.31AM

KBZ200: THE EXOTIC TRILOGY

The KBZ 200 presents 18-hour performances where different cover versions of three exotic songs (Taboo, Caravan, and Quiet Village) are repeated endlessly, both from mouldy vinyl presentations and from live musical performances and re-enactments. This is set in a tableau of ersatz exoticism manifested by continuous projection of travelog films of exotic locations, processions of large tiki-god heads, pullulating maneouvres of coconut bras oozing sweet nectar, and bread hats flamed during exotic food preparation. This is the mouldy reincarnation of orchid rot, the impacted nectarine vexations of Baghdadianism; an hommage to the performance artist Jack Smith. Collaboration with Gordon W. and Laura Kikauka, Gordon Monahan and members of KB Zed.

Vexations (1893) by Erik Satie was an extremely avant garde work when it was composed. Approximately 50 years later, the concept of 'furniture music' was co-opted by the Muzak Corporation and used as background shopping music. The KB Zed takes 3 songs often heard as shopping music and uses them to create this ersatz exotic tableau that returns the music to its primitive state, causing delirious frenzy amongst listeners subjected to a full 18-hour listening. [http://www.gordonmonahan.com/pages/kbz.html]

KBZ200: THE EXOTIC TRILOGY

The KBZ 200 presents 18-hour performances where different cover versions of three exotic songs (Taboo, Caravan, and Quiet Village) are repeated endlessly, both from mouldy vinyl presentations and from live musical performances and re-enactments. This is set in a tableau of ersatz exoticism manifested by continuous projection of travelog films of exotic locations, processions of large tiki-god heads, pullulating maneouvres of coconut bras oozing sweet nectar, and bread hats flamed during exotic food preparation. This is the mouldy reincarnation of orchid rot, the impacted nectarine vexations of Baghdadianism; an hommage to the performance artist Jack Smith. Collaboration with Gordon W. and Laura Kikauka, Gordon Monahan and members of KB Zed.

Vexations (1893) by Erik Satie was an extremely avant garde work when it was composed. Approximately 50 years later, the concept of 'furniture music' was co-opted by the Muzak Corporation and used as background shopping music. The KB Zed takes 3 songs often heard as shopping music and uses them to create this ersatz exotic tableau that returns the music to its primitive state, causing delirious frenzy amongst listeners subjected to a full 18-hour listening. [http://www.gordonmonahan.com/pages/kbz.html]

DANIELA CASCELLA: 31 DAYS, SLOW AND STILL

31 DAYS READING LE PONT MIRABEAU BY GUILLAUME APOLLINAIRE AT 8.30AM — FOR RADIO BOREDCAST

Le pont Mirabeau is a poem by Guillaume Apollinaire, published in his 1913 collection Alcools. In response to the theme and the structure of As Slow As Possible/Radio Boredcast, I chose to record myself reading Le pont Mirabeau at 8.30 in the morning for 31 days, anticipating and mirroring the duration of the broadcast in a different place and at a different time.

I chose this poem because of its slow flowing against its slowing into stillness — the flow of water, time and words in the stanzas against the circularity of time in the refrain. The adjective ‘slow’ appears still in the third stanza, the same one that contains ‘love’, ‘hope’, ‘violent’. The adjective ‘still’ appears slow in the refrain, as an impossibility. In the original French poem, ‘slow’ rhymes with ‘violent’ and ‘still I stay’ with ‘hours’.

The lack of punctuation throughout the poem calls not only for a flow of words, but also for different rhythms and meanings arising out of each reading. The readings always took place in my office, sometimes as dedicated recordings, sometimes while I was preparing to go out, sometimes while I was reading the paper or checking the news online. I learned the poem by heart, so sometimes the recordings mirror my small hesitations and gaps in recalling the verses. An old phonograph recording of Apollinaire reading the poem (from the Archives de Parole, Collection Phonothèque Nationale - Bibliothèque Nationale, Paris) supported some of the readings.

Daniela Cascella is a writer and curator based in London since 2009. Her research is focused on sound and on the way it seeps into other formats, most of all text. Her most recent projects explore and employ fictional tropes in writing criticism and descriptions of sound in fiction. She has recently finished writing her third book, En abÎme: a narrative across listening, reading and writing-as-landscape, as part of her research in the MFA Art Writing at Goldsmiths College that she completed in 2011. http://[www.danielacascella.com]

OTHER MINDS: ODE TO GRAVITY — AMUCK AMUCK

An appreciation of selected verbal activities. From Dial-A-Prayer and Gertrude Stein to the Ketjak, Harry Partch, the Congo and world champion bowler Don Carter this program is a aural collage of sound poetry, excerpts from literature, ephemeral programs, and televised sound bites. Included is a complete performance of Steve Reich's It's Gonna Rain. (February 24, 1971). [http://www.archive.org/details/OTG_1971_02_24]

[http://www.radiom.org]

JOHN CAGE AND MORTON FELDMAN IN CONVERSATION: PART 1

At WBAI, NYC (1967)

KENNETH KIRSCHNER: 030594
[http://www.kennethkirschner.com/]

THE LONG NOW FOUNDATION: BRIAN ENO — THE LONG NOW

Eno discusses the origins of his realizations about the "small here" versus the "big here" and the "short now" versus the "long now." He noted that the Big Here is pretty well popularized now, with exotic restaurants everywhere, "world" music, globalization, and routine photos of the whole earth. Instant world news and the internet has led to increased empathy worldwide. But empathy in space has not been matched by empathy in time. If anything, empathy for people to come has decreased. We seem trapped in the Short Now. The present generation enjoys the greatest power in history, but it appears to have the shortest vision in history. That combination is lethal.

[http://longnow.org/seminars/02003/nov/14/the-long-now/]Courtesy of the Long Now Foundation, [http://longnow.org/]

RADIO BOREDCAST PRESENTS... BORING

Radio Boredcast asked a bunch of young people how they felt about boredom...

Thank you — Valerie, Alisha, Ada, Molly, Eve, Holly, Lila, Lia, Babycall Rechargeable

OTHER MINDS: RADIO VISIONS — THE NEW CONSONANCE, 1981

Starting in 1969, Charles Amirkhanian was the first radio producer to broadcast substantial quantities of music by first generation minimalist composers. His early interviews with Steve Reich, John Adams, Paul Dresher, Laurie Anderson, Lou Harrison, and others form the basis of this fascinating exigesis of the sea change in contemporary music brought on by the use of consonant harmonies, steady pulse, and hypnotic repetition.

But what was the historical artistic context that provoked this reaction, and what was the public's level of acceptance these new one-note geniuses? That question and others are explored in this detailed and fascinating look at modern music and the changing nature of the avant-garde over the period 1900 to 1980. Some of the breathtaking claims, like Lou Harrison's assertion that the music of Brahms, composed as it is in equal temperament, "is dreadfully out of tune," caused a scandal at the time and led series host Gunther Schuller to disavow the entire thrust of the program's narrative thread. But from beginning to end, this is definitive 60-minute statement about the West Coast sound in maverick music challenges and informs with rare insight and will keep you glued to your loudspeakers.
Engineer: Lawrence Rock, WFMT Chicago. Host and writer: Charles Amirkhanian

[http://www.archive.org/details/RadioVisions][http://www.radiom.org]

JOHN WYNNE: UPCOUNTRY — FOR RADIO BOREDCAST

Sound artist John Wynne has a PhD from Goldsmiths College, University of London. His award-winning work, which is often research-led, is made for museums, galleries and public spaces, as well as for radio: it ranges from massive installations to delicate sculptural works and from architectural sound drawings to flying radios. Long-term research projects have included working with speakers of endangered languages in Africa and Canada and with heart and lung transplant patients in the UK. For 3 years he had his own programme called Upcountry on ResonanceFM in London, where he "invited Tammy Wynette to have tea with Pierre Henry - in a thunderstorm" (Ed Baxter). He is a Research Fellow at the University of the Arts London, and a core member of the sound arts research centre, CRiSAP. [http://www.sensitivebrigade.com/wynne.htm]

IRENE MOON: LET’S TALK SCIENCE — HUMAN EVOLUTION — PART 1 — FOR RADIO BOREDCAST

Irene uses her entomological and scientific background to connect with individuals from the scientific community; discussing their perception of time on topics they are most intimate and familiar. [http://www.begoniasociety.org]

Andrea Lucky - The topic of our evolutionary history continues with anther evolutionary biologist from North Carolina State University.  Andrea specializes in Ants and citizen science projects.  Her most recent work has to do with The School of Ants [http://schoolofants.org]

JOHN CAGE: Q&A FROM NORTON LECTURES (1988-89)

Without doubt the most influential American composer of the last half century, John Cage has had an enormous impact not only on music but on art, literature, the performing arts, and aesthetic thought in general. His insistent exploration of "nonintention" and his fruitful merging of Western and Eastern traditions have made him a powerful force in the world of the avant-garde.

There have never been lectures like these: delivered at Harvard in 1988-89 as the Charles Eliot Norton Lectures, they were more like performances, as the audience heard them. Cage calls them "mesostics," a literary form generated by chance (in this case computerized I-Ching chance) operations. Using the computer as an oracle in conjunction with a large source text, he happens upon ideas, which produce more ideas. Chance, and not Cage, makes the choices and central decisions. Such a form is rooted, Cage tells us in his introduction, in the belief that "all answers answer all questions."

There are two sound files, one of Cage reading a mesostic (IV), allowing the listener to experience it as it was delivered, and one with a lively selection from the question-and-answer seminars that conveys the flavor of the event. I-VI is, in short, an experience of John Cage, where silences become words and words become silences, in arrangements that will disconcert and exercise our minds. [http://www.ubu.com/sound/cage_norton.html]

OTHER MINDS: RADIO EVENT NO. 20 — RHODODENDRON

Tom Zahuranec invited the radio audience down to the KPFA Music Office to communicate mentally with a rhododendron which was wired with liquid electrodes feeding impulses into a Buchla synthesizer. This program includes commentary of Amirkhanian and Zahuranec, as well as the impressions of the participants. (October 18, 1972). [http://www.archive.org/details/RE_1972_10_18][http://www.radiom.org]

RADIO WEB MACBA PRESENTS: SON[I]A #99. INTERVIEW WITH JOHN OSWALD

Ràdio Web MACBA is the Museu d'art contemporani de Barcelona (MACBA) online radio project. [http://rwm.macba.cat]

John Oswald (Canada, 1953) is one of the leading exponents of sound appropriationism. In the eighties, Oswald coined the term "Plunderphonics" to define his work, which questions issues like authorship, the record industry’s business model and the aesthetics of sound collage as a musical language. Son[i]a interviews John Oswald on the occasion of his visit to the MACBA as part of the concert series "Variations".
[http://rwm.macba.cat/en/sonia/sonia99_john_oswald/capsula]

CHEESE SNOB WENDY: ENJOYING CHEESE IS SLOW — FOR RADIO BOREDCAST
Cheese Is Slow. I think about cheese a lot.  I wrote down my thoughts and read them slowly into a microphone while I was thinking about how much I like cheese and how happy I am that cheese is slow. I don't like to be rushed. Words are often better when accompanied by music, so I found some songs to help keep the theme going. I didn't really pick any songs specifically about cheese because I thought that would be far too obvious and kind of annoying. 

I live in the United States.  I am in my late-30s and I have been working with cheese since I was 21 years old.  Within a few days of starting my first cheese job I knew I was in the right place.  Learning and eating are two of my favorite things.  I've done nearly all there is to do in the cheese profession except make cheese.  Most of my experience has been selling cheese, teaching people about cheese, and writing about it.  You know those little signs that are stuck into the cheese in the shop's display, with the name of the cheese, how much it costs, and a description of the cheese?  Well, I write those descriptions.  I like music, too, but I imagine that goes without saying because what kind of horrible person doesn't like music? [http://www.cheesesnob.com]

MOUTHCRAZY: BLUE GREY BLUE GREEN

Blue Grey Blue Green is a track taken from the album Open / Open Wide by the band Mouthcrazy. The album was released as a limited edition vinyl by American label Ecstatic Yod in 1996. Mouthcrazy are Sharon Gal — Voice & Electronics, Richard Young — Bass, Justin Harries — Guitar/ Keyboard. Blue Grey Blue Green is a slow evolving free improvisation and was recorded the first time the band played together.

CHRISTOF MIGONE PRESENTS... FOR RADIO BOREDCAST 

Christof Migone responds to the As Slow As Possible theme with a playlist for Radio Boredcast... Christof Migone is a multidisciplinary artist and writer. His work and research delves into language, voice, bodies, performance, intimacy, complicity, and endurance. He co-edited the book and CD Writing Aloud: The Sonics of Language (Los Angeles: Errant Bodies Press, 2001) and his writings have been published in Aural Cultures, S:ON, Experimental Sound & Radio, Musicworks, Radio Rethink, Semiotext(e), Angelaki, Esse, Inter, Performance Research, etc. His installations have been exhibited at the Banff Center, Rotterdam Film Festival, Gallery 101, Art Lab, eyelevelgallery, Forest City Gallery, Studio 5 Beekman, Mercer Union, CCS Bard, Optica. He currently lives in Toronto and is a lecturer at the University of Toronto Mississauga and the Director/Curator of the Blackwood Gallery. [http://www.christofmigone.com/]

[http://www.christofmigone.com/html/projects_gallery/soundvoiceperform.html][http://www.christofmigone.com/html/projects_gallery/vexatkhyber.html#][http://www.christofmigone.com/html/projects_gallery/quieting.html][http://www.christofmigone.com/html/projects_gallery/crackers.html][http://www.christofmigone.com/html/projects_gallery/southwinds.html][http://www.christofmigone.com/html/projects_gallery/soundvoiceperform.html#][http://www.christofmigone.com/html/projects_gallery/escapesongs.html][http://www.christofmigone.com/html/projects_gallery/holecd.html][http://www.christofmigone.com/html/projects_gallery/deathofcd.html]

DO OR DIY WITH PEOPLE LIKE US: 1234 — PART 1 — FOR RADIO BOREDCAST

1234 is a show all about counting in music, sound art, poetry and lunacy.

DO or DIY is a freeform sound art radio show broadcast weekly by Vicki Bennett (People Like Us) on WFMU. The philosophy behind the show is simple. That within the realms of avant-garde and experimental sound art the goalposts defining "accessible" and "inaccessible" are constantly moving. As the radar rises and dips, fragments and shards of underground creations unearth, and popular culture and artist resonate, shifting shapes accordingly with one another in reflections of changing spotlights. Each show consists of collages made of sound works from the 20th and 21st century, often layered and looped many times over, resulting in an album type effect on each show. [http://www.wfmu.org/peoplelikeus]

OTHER MINDS: WORLD EAR PROJECT — TRANSMISSION SIX

More ambient sound recordings sent to KPFA, by friends from around the world. This transmission includes fog horns and surf sounds recorded at Fort Scott, along the Golden Gate in San Francisco, and a walk through New York City streets and transit system. Sit back, put on the head phones and travel the world without leaving your house. (February 1, 1971). [http://www.archive.org/details/WEP_1971_02_01][http://www.radiom.org]

CURRENT 93: A SOFT VOICE WHISPERS NOTHING

From In A Foreign Town, In A Foreign Land

 

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ANNA RAMOS AND ROC JIMENEZ DE CISNEROS: FOUR CONSECUTIVE STEPS TOWARDS MIDDLE WORLD — FOR RADIO BOREDCAST

These ultrasonic recordings of Vespertilionidae bat echolocation calls were made in the summer of 2011 using a CDB101R3 heterodyne stereo bat detector and a Tascam DR-100 digital recorder. The recordings were made in Parc de la Ciutadella in Barcelona.

Many overlapping pulse trains indicate groups of low flying bats feeding on insects — often just a few centimetres above head height. Those sections in which pulses do not overlap feature isolated bats flying in circles of about 15 meters in diameter. The frequency range of calls lies approximately between 35-60 KHz, and in some sections it is possible to hear other sound sources such as crickets, footsteps, people talking, or the fountain where the bats catch their prey.

The four shows in this series are based on the same recording, slowed down in each successive show in an attempt to reflect on the relativity of the concept of slowness and to try and transcend the anthropomorphic take on this subject. Middle World, a term coined by Richard Dawkins, is used to describe the realm between the microscopic world of quarks and atoms and the larger view of the universe at the galactic and universal level. This term is used as an explanation of oddity at both extreme levels of existence. [http://alkualkualkualkualkualkualkualkualkualku.org]

PHILIP GLASS: MUSIC IN CONTRARY MOTION

RADIO WEB MACBA PRESENTS: COMPOSING WITH PROCESS — PERSPECTIVES ON GENERATIVE AND SYSTEMS MUSIC #4.1. TIME.

BY MARK FELL AND JOE GILMORE  

Ràdio Web MACBA is the Museu d'art contemporani de Barcelona (MACBA) online radio project. [http://rwm.macba.cat]

Curated by Mark Fell and Joe Gilmore. Narrated by Connie Treanor.

The fourth episode in this series introduces the idea of time and its relationship to musical practices. The show opens with thoughts about time drawn from philosophy, science and musicology and shows how these are expressed in musical form, and looks at the origins of sonic action, musical behaviors and notational systems as a way of engaging with the temporal realm. With a specific reference to the emergence of sound recording technologies — both vinyl and tape — the show examines how new technologies have impacted musical vocabularies and changed the relationship between sound, time and music. It closes with a brief look at how computer based editing has extended this paradigm and opened the way for stochastic methods of sound generation. [more]

AARON XIMM: ONE MINUTE VACATION — YEAR 6

Surely you can spare a minute to clean your ears? Take a one-minute vacation from the life you are living. One-minute vacations are unedited recordings of somewhere, somewhen. Sixty seconds of something else. Sixty seconds to be someone else. [http://www.quietamerican.org/vacation.html]

ZEPELIM: A RADIOPHONIC POSTCARD FROM PORTUGAL

This episode of Zepelim is an invitation to experience a glimpse of Portugal through sound. The collage blends sounds from different times and cultural communities, presented as a symbolic and fragmented/non-representative piece rather than a documentary piece. It explores the touchstones between early electronic Portuguese music, oral traditions (like the ballad [The Rapist Soldiers] sung by Marta dos Anjos Martins Fidalgo), and field recordings. Sources include the [Antologia de Música Electrónica Portuguesa] curated by composer [Rafael Toral] — this anthology brings 30-years of Portuguese experimental electronic music together from artists with a wide range of musical backgrounds (some pre-dating The [Carnation Revolution] of 1974 that brought Portugal out of a dictatorship that lasted almost 50 years). Fragments from the anthology are layered over a stream of field recordings that capture the sounds of leisure, labor, and natural scenes through the ears of [Luís Antero], a preeminent field recording artist that has done extensive coverage of Beira Serra and Serra da Estrela's sound heritage. The collage also features recordings from foreign ears, including the work of Spanish artist Alejandra Salinas and the American Aeron Bergamn - both presenting research and recovery of the sound aesthetic around the present-day city of Porto, from [Porto- Folklore Fragments vol. 2]. [http://zeppelinruc.wordpress.com/2010/05/10/zepelim-29-04-2010-portugal-turismo-radiofonico/]

Carlo Patrao is a 27 year-old native of Coimbra, Portugal. He attended the University of Coimbra and has been working in radio since 2007. His education at RUC immersed him in the independent spirit of exclusively author-oriented radio programs free from the pressure of ratings, advertising, and profit-earning. Carlo began his radio career covering several areas of radiophonic activity, ranging from weekly shows featuring pop and folk music to more topical programs presenting cultural events, reviewing books and music, and promoting the work of local artists. In 2008, he created the program Zepelim with his friend Afonso Biscaia in order to explore the diverse possibilities of radiophonic space through the use of field recordings, experimental music, musique concrete, drones, archived sound and live improvisation. Episodes of Zepelim are 60-minute sound collages based on specific themes every month. The tracklists of sounds featured in each program are annotated in his[ blog]. [http://zeppelinruc.wordpress.com/]

IRENE MOON: LET’S TALK SCIENCE — HUMAN EVOLUTION — PART 1 — FOR RADIO BOREDCAST
Irene uses her entomological and scientific background to connect with individuals from the scientific community; discussing their perception of time on topics they are most intimate and familiar. [http://www.begoniasociety.org]

Andrea Lucky - The topic of our evolutionary history continues with anther evolutionary biologist from North Carolina State University.  Andrea specializes in Ants and citizen science projects.  Her most recent work has to do with The School of Ants [http://schoolofants.org]

CHRIS WATSON: SUKAU PART 2 — FOR RADIO BOREDCAST
Over a period of 5 days whilst in Borneo, I went out into the jungle before sunrise and set up a stereo recording system and left it running - something I never usually do. The results are really good and I have a collection of sunrise tracks in the Sukau rainforest of Sabah in Borneo over successive mornings with a range of bird and other animal sounds as well as the characteristic sounds of tropical rainforest; that is huge amounts of humidity and moisture slowly percolating down from the canopy 40m overhead. (Chris Watson)

Chris Watson is one of the world's leading recorders of wildlife and natural phenomena. In 1971 he was a founding member of the influential Sheffield-based experimental music group Cabaret Voltaire. His sound recording career began in 1981 when he joined Tyne Tees Television. Since then he has developed a particular and passionate interest in recording the wildlife sounds of animals, habitats and atmospheres from around the world. His television work includes Bill Oddie Back in the USA, Springwatch, Autumnwatch and The One Show. http://[www.chriswatson.net]

KENNY G: INTELLIGENT DESIGN — DIRT — WITH KEN FREEDMAN

Kenny G and studio guest Ken Freedman discuss The Stooges.  Gripping.
First boredcast on WFMU.

[http://www.wfmu.org/playlists/KG][http://www.wfmu.org/playlists/KF]

ROB WEISBERG: WORLD VOCAL MUSIC — FOR RADIO BOREDCAST

For this hour of the Boredcast, I’ve selected fifteen slow-moving songs or pieces centered on the human voice, sometimes a cappella, sometimes with drone, ambient or otherwise low-key or understated accompaniment. All of these pieces have roots in traditional music or contain traditional elements from Europe and Asia. But many blend elements of the traditional and the modern; with the exception of the selection from Buddhist monks in Bhutan, none of these are not ethnographic field recordings.

PLAYLIST

1 Korean Creative Music Society - Dongdasong from Various Artists: Into the Light II (MCST)
2 Monks of Tashicho Dzong, Thimphu; Nuns of Punakha Dzong (Bhutan) - Chakchen Sondep (Petition
To Chakchen) from Various Artists (recorded by John Levy): Tibetan Buddhist Rites from the Monasteries
of Bhutan (Lyrichord)
3 Huun Huur Tu and Carmen Rizzo - Tuvan Prayer from Eternal (Six Degrees)
4 Wulu Bunun singers and David Darling — Pasibutbut from Mudanin Kata (World Music Network)
5 Sainkho Namtchylak - Last Christmas from Various Artists (edited By Morgan Fischer) - Miniatures II
6 Bulgarian Voices - Angelite & Huun-Huur-Tu - Fly, Fly My Sadness from Fly, Fly My Sadness
(Shanachie)
7 Yerevan Women's Choir of Armenia - Surb, Surb from Yerevan Women's Choir of Armenia (MEG)
8 Rustavi Choir (Georgia) - Kakhuri Nana from World Network, Vol. 2: Georgia [Georgian Polyphony]
(Network Meridien)
9 Alanna O'Kelly - One Breath from Various Artists: Lament (Real World)
10 Sheila Chandra & Ganges Orcestra - Not Waving, Droning from EEP 2 (Indipop)
11 Yungchen Lhamo - Fade Way from Ama (Real World)
12 Mari Boine - Ahccai (To My Father) from In the Hand of the Night (Universal)
13 Sussan Deyhim - Beshno Az Ney (Windfall) from City of Leaves (Venus Rising)
14 Azam Ali - Neni Desem from From Night To The Edge Of Day (Six Degrees)
15 Loga Ramin Torkian - Avaaz from Mehraab (Six Degrees)

Rob Weisberg is the host of Transpacific Sound Paradise, the “peerless world music show” (Time Out New York) heard Saturday evenings on non-commercial radio station WFMU. The program features recorded and live music, interviews, and remote broadcasts from Barbes, a performance venue in Brooklyn and occasionally other venues. The noted abstract painter Mary Heilmann was inspired to name one of her works after the show, Transpacific (2007) and Rob’s voice from the show has been heard in two documentary films. Rob’s obsessively-maintained online world music calendar has become an essential resource for NYC metro area world music fans.

[http://www.wfmu.org/playlists/tp][http://www.timeout.com/newyork][http://www.barbesbrooklyn.com][http://www.hauserwirth.com/artists/12/mary-heilmann/biography][http://www.wfmu.org/world] 

RADIO BOREDCAST PRESENTS... MNMLISM

Throughout the month, Radio Boredcast is making selections of themed music that fit the As Slow As Possible subject, either in an obvious or more ethereal way.  Here is a selection of minimalist music, both from the era when it was most popular, but also some other tracks that have similar qualities.

DANIELA CASCELLA: 31 DAYS, SLOW AND STILL

31 DAYS READING LE PONT MIRABEAU BY GUILLAUME APOLLINAIRE AT 8.30AM — FOR RADIO BOREDCAST

Le pont Mirabeau is a poem by Guillaume Apollinaire, published in his 1913 collection Alcools. In response to the theme and the structure of As Slow As Possible/Radio Boredcast, I chose to record myself reading Le pont Mirabeau at 8.30 in the morning for 31 days, anticipating and mirroring the duration of the broadcast in a different place and at a different time.

I chose this poem because of its slow flowing against its slowing into stillness — the flow of water, time and words in the stanzas against the circularity of time in the refrain. The adjective ‘slow’ appears still in the third stanza, the same one that contains ‘love’, ‘hope’, ‘violent’. The adjective ‘still’ appears slow in the refrain, as an impossibility. In the original French poem, ‘slow’ rhymes with ‘violent’ and ‘still I stay’ with ‘hours’.

The lack of punctuation throughout the poem calls not only for a flow of words, but also for different rhythms and meanings arising out of each reading. The readings always took place in my office, sometimes as dedicated recordings, sometimes while I was preparing to go out, sometimes while I was reading the paper or checking the news online. I learned the poem by heart, so sometimes the recordings mirror my small hesitations and gaps in recalling the verses. An old phonograph recording of Apollinaire reading the poem (from the Archives de Parole, Collection Phonothèque Nationale - Bibliothèque Nationale, Paris) supported some of the readings.

Daniela Cascella is a writer and curator based in London since 2009. Her research is focused on sound and on the way it seeps into other formats, most of all text. Her most recent projects explore and employ fictional tropes in writing criticism and descriptions of sound in fiction. She has recently finished writing her third book, En abÎme: a narrative across listening, reading and writing-as-landscape, as part of her research in the MFA Art Writing at Goldsmiths College that she completed in 2011. http://[www.danielacascella.com]

ANDREW SHARPLEY: SLOW — FOR RADIO BOREDCAST

Ever been in a bar or a restroom with someone who won't stop talking? Logorrhea, I think they call it. A two hour monologue about slowness should be enough to put anyone to sleep: Andrew Sharpley obliges with a leisurely wander up and down the garden path by way of the hind legs of a donkey. You know where the door is.

Andrew Sharpley is perhaps best known as 1/4 then 1/2 of UK sampling unit Stock Hausen and Walkman, formed in 1991, who achieved what they had been working towards in 2001 by splitting up. Relocating to France, Andrew then spent the next ten years undertaking commissions, or playing in bands, from animation festivals to jazz festivals to arts festivals in champagne cellars, by way of wi-fi broadcasts in cars and too many hours spent in vans. Few were interested. His return to the UK in 2011 found him back where he started, and more productive for it. He presents these two broadcasts, "slow" and "red herring", as evidence, although for what, is as yet unclear.

JASON WILLETT: EDIT OF EVERYTHING — FOR RADIO BOREDCAST

jupasupon wupillupett lupoves mupusupic upand dupucks.
jupasupon wupillupett lupoves smupokuping upand drupinkuping.
jupasupon wupillupett lupoves hupot supex upand hupot pupeppupers.
jupasupon wupillupett lupoves bupaltupimupore upand strupong cupoffupee.
jupasupon wupillupett lupoves frupiendshupip upand rupubbuper bupands.

ALL AVANT-GARDE ALL THE TIME: PUNK VERSIONS OF MONKEY CHANTS

Poet Kenneth Goldsmith presents selections from UbuWeb, the learned and varietous online repository concerning concrete and sound poetry, experimental film, outsider art, and all things avant-garde.

Punk Versions of Monkey Chants. And other ethnopoetic marvels, including speaking in tongues, throat singers, and sound poetry.

[http://www.poetryfoundation.org/features/audioitem/683][http://ubu.com]

CHRISTOPHER DELAURENTI: FAVOURITE INTERMISSIONS

Favorite Intermissions: Music Before and Between Beethoven - Stravinsky — Holst.  Secretly recorded at orchestral concerts across the country, this collection of intermissions teems with unusual soundscapes, startling (and unintended) collective improvisations, and surprising, sometimes gritty sonic detail from the sacred space of the concert hall.

ALEC FINLAY: GREAT GLEN AIRSHOW

JOHN CAGE AND DAVID TUDOR: INDETERMINACY — PART 3 AND 4

In Zen they say: If something is boring after two minutes, try it for four. If it is still boring, try it for eight, sixteen, thirty-two, and so on.  Eventually one discovers that it's not boring at all but very interesting. (John Cage)

LA MONTE YOUNG: PRE-TORTOISE DREAM MUSIC

From Theatre of Eternal Music

JOHN CAGE: MUSHROOM HAIKU, EXCERPT FROM SILENCE

From Dial-a-Poem Poets

SCOTT WILLIAMS: I CAN’T GET STARTED — FOR RADIO BOREDCAST

"I Can't Get Started" is a 2-hour long attempt to get something off the ground. Frustrated expectations, no resolution, circular movement or none at all. With songs.

Scott Williams does a weekly freeform music show at WFMU in Jersey City NJ, and has been doing so since 1997. His show can be heard live every Monday at 3pm EST, or unbound by time at [http://wfmu.org/playlists/SW]

PLAYLIST:

Joe Jackson "A Slow Song"
Monty Python "Traffic Lights"
William Basinski "Disintegration Loops"
Paul Slocum "You're Not My Father"
The Reveries "Close Your Eyes"
Bruce the Piano Man
Everly Brothers "I Wonder If I Care as Much (version 2)"
Chris Forsyth & Shawn Edward Hansen "I First Saw You"
Tom Recchion "A Complex Shape in the Sky"
Lila "A Sleepy Story"
Isaac Hayes "By The Time I Get to Phoenix"
Alan Parsons Project "Time"
Bobby Conn "Who's The Paul? (#16)"
Elvis Presley "I Get So Lonesome I Could Die (DJ Carousel Sniper mix)"
Ween "Fluffy"
Dick Proenneke "Alone in the Wilderness"
Scott Walker / Yekaterina Golubeva "Pola X (scene)"
Somerset County (NJ) township community bulletin board
World Standard "Billy Strange Country"
Cerberus Shoal "The Real Ding"
Ace Cannon "Blues Stay Away From Me"

CEPTUETICS RADIO: MATMOS

Matmos (Drew Daniel + M.C. Schmidt) talk about their conceptual sound pieces, telepathic love, pedagogy, performances, and the sound & visual portraits that comprise The Rose Has Teeth in the Mouth of a Beast, an album that pays tribute to Wittgenstein, Burroughs and Solanas, among others.

[PennSound: Ceptuetics Radio]. Hosted by Kareem Estefan. Episode 24: July 23, 2008
[http://writing.upenn.edu/pennsound/x/Ceptuetics.php]

TONY CONRAD WITH FAUST: FROM THE SIDE OF THE MACHINE

ZEPELIM: A RADIOPHONIC POSTCARD FROM PORTUGAL

This episode of Zepelim is an invitation to experience a glimpse of Portugal through sound. The collage blends sounds from different times and cultural communities, presented as a symbolic and fragmented/non-representative piece rather than a documentary piece. It explores the touchstones between early electronic Portuguese music, oral traditions (like the ballad [The Rapist Soldiers] sung by Marta dos Anjos Martins Fidalgo), and field recordings. Sources include the [Antologia de Música Electrónica Portuguesa] curated by composer [Rafael Toral] — this anthology brings 30-years of Portuguese experimental electronic music together from artists with a wide range of musical backgrounds (some pre-dating The [Carnation Revolution] of 1974 that brought Portugal out of a dictatorship that lasted almost 50 years). Fragments from the anthology are layered over a stream of field recordings that capture the sounds of leisure, labor, and natural scenes through the ears of [Luís Antero], a preeminent field recording artist that has done extensive coverage of Beira Serra and Serra da Estrela's sound heritage. The collage also features recordings from foreign ears, including the work of Spanish artist Alejandra Salinas and the American Aeron Bergman - both presenting research and recovery of the sound aesthetic around the present-day city of Porto, from [Porto- Folklore Fragments vol. 2]. [http://zeppelinruc.wordpress.com/2010/05/10/zepelim-29-04-2010-portugal-turismo-radiofonico/]

Carlo Patrao is a 27 year-old native of Coimbra, Portugal. He attended the University of Coimbra and has been working in radio since 2007. His education at RUC immersed him in the independent spirit of exclusively author-oriented radio programs free from the pressure of ratings, advertising, and profit-earning. Carlo began his radio career covering several areas of radiophonic activity, ranging from weekly shows featuring pop and folk music to more topical programs presenting cultural events, reviewing books and music, and promoting the work of local artists. In 2008, he created the program Zepelim with his friend Afonso Biscaia in order to explore the diverse possibilities of radiophonic space through the use of field recordings, experimental music, musique concrete, drones, archived sound and live improvisation. Episodes of Zepelim are 60-minute sound collages based on specific themes every month. The tracklists of sounds featured in each program are annotated in his[ blog]. [http://zeppelinruc.wordpress.com/]

 

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NANCY O GRAHAM: SOMNILOQUY CYCLE — INTO MY STORY (THE RAVEN OF WHICH, WELL, I HOPE SHE STARTS QUOTHING)

Nancy Oarneire Graham creates somniloquies, or recorded sleeptalk, by repetitively reading a short text—whether from a children's story, a work of nonfiction, or her own dreams—until she begins to fall half asleep. In the twilight state between waking and sleeping, known as the hypnagogic state, visions, half-formed thoughts, and stray words begin to interrupt those read from the page, opening a window onto this borderland.

Based on excerpts from Samuel Beckett’s “Texts for Nothing.” Undertaken as a collaboration with Michael Ruby, who chose different excerpts from “Texts for Nothing” and worked with them using a different process, also on the edge of sleep.

1. SORRY BODY                                                     
What possessed you to come?  We walked together, hand in hand, silent, sunk in our worlds. I could have stayed in my den, snug and dry.  I say to the body,Up with you now.  Home.  My dwelling place.”
—Samuel Beckett, “Texts for Nothing”

2. NOW THAT THE TREES HAVE ROTTED
Where would you go, now that you know?  Back above?  Creaming off the garbage.  Nothing terrible, nothing showed. Slowly in the head the ragdoll rotting.  That’s it, that’s it, the bright side.
—Samuel Beckett, “Texts for Nothing”

3. FALLING BACKWARD
I’ll will it, will me a body.  Far from the days, the far days, a ray of sunshine and a free bench.  No political opinions,  have silence, get into silence, into my story in order to get out of it, no.  To brew poisons.  It’s all I ask.  What’s wrong with that?         
—Samuel Beckett, “Texts for Nothing”

4. WHAT A RELIEF TO KNOW I’M NOT A MATRIARCH 
I’d go into the forest, I’d try and reach the forest to tell another lie.  That must be the voice of reason again.  I hear I have a kind of conscience under various assumed names.  It’s a game, it’s getting to be a game.  What a relief to know I’m mute forever, listen to that, what a relief.  Ah yes, I hear, I heard, it’s noted.  When silence falls against my lips where they meet, bringer of rest, let the last desert me and leave me empty, empty and silent, an infant dead in its dead mother.
—Samuel Beckett, “Texts for Nothing”         

5. NIXON’S ALIBI 
the trees were witness
complete with joys and sorrows
seeing the immensity to measure and that heads are
only wound up once,
bristles waiting to depart or let fall to the ground
in the great limpness of sleep, perhaps dreaming
it's in heaven, alit in heaven
—Samuel Beckett, “Texts for Nothing”         

6. I HEAR VOICES  
Moments of reasoning, they draw one another back, that’s how it goes, it must be supposed.  Never was like that, is like nothing, moments of hesitation, not so much rare as frequent.
—Samuel Beckett, “Texts for Nothing”

7. A BED IS SOMETHING TO EMBRACE
But peekaboo here I come again, foaming at the mouth, and chewing, friendly shadows, friendly skies, but what is this evening made of and he, what did he want never saying a word, as if he didn’t know, deep in this place which is not one.
—Samuel Beckett, “Texts for Nothing”         

8. MONSTER
...but who can the greater can the less, and somewhere a hand, it wants to make a hand. A trace, it wants to leave a trace, yes, this pity that is in the air,tears in its eyes before they've had time to open and wonders what has become of the wish to know.
—Samuel Beckett, “Texts for Nothing”
Nancy Oarneire Graham's somniloquy-based poems and prose have appeared in print and online publications, including BlazeVOX, Café Irreal, Chronogram, Eratio, Invisible City, New Verse News, Pindeldyboz, Prima Materia, Listening in Dreams (by Carol Ione), and Water Writes (edited by Larry Carr). She has performed somniloquies as part of the Deep Listening Institute's Dream Festival in Kingston, New York. Her chapbook, somniloquies, is available from Pudding House Publications. [http://ngram.net/]

THE NIGHT AIR: SPEEDY CONDENSATE — FOR RADIO BOREDCAST
A condensation of media dreams - with head listening, nose probes & deep sleep, a journey through light and a bicycle-speed future.

Running since 2002, The Night Air is a programme dedicated to creative radio-making on Radio National (a network of the Australian Broadcasting Corporation). Each week obliquely related material, sourced from Radio National's own archives and the media at large, is re-assembled with sonic glue - letting listeners imagine new stories.

Diane Dean was born in the UK and began her radio career with the BBC in London. She later emigrated to Australia and worked as an audio engineer, before joining the ABC as a program maker. She has a Science degree in Architecture and a Dip. Design Science in Architectural Acoustics. She has a love of discontinuity, yoga and languages.

Brent Clough began his radio career with Radio New Zealand and has previously produced and presented the Radio National contemporary music and sound arts program, Other Worlds and the world music show, The Daily Planet. He was foundation producer/presenter for the ABC features program, Radio Eye and currently presenter for 360 documentaries. He is a DJ and writer and has curated gallery projects on music and Pacific culture.

John Jacobs joined the ABC in 1985 and has engineered, produced and created many radio programs, winning international awards and establishing leading ABC innovations such as The Night Air and ABC Pool. Always looking ahead for fresh ways to present ideas and entertainment, John helped to start podcasting at the ABC. With a background in community media he was part of the team that launched the indymedia citizen journalism movement. [http://en.wikipedia.org/wiki/The_Night_Air]_(radio_program)
[http://www.abc.net.au/rn/nightair]

PHONIC PSYCHOMIMESIS: TRAINISHNESS
The work consists of pure trainspotting field recordings with an aim to abstract these cliche sounds from themselves. The arrangement of pieces from the different angles of the train (the drone of closer coming locomotive, slowly stopping and starting of the train, the squeaking of the tambour rubbers from the inside of the train, high frequencies of the breaks, kvasi-rhythmics of the typical train movements and the close-up of the rails) makes it hard to tell what’s exactly happening. Played, not layered, in semi-improvised manner. Just processed, no additional effects used whatsoever. Recorded in Brasa, Carnikava and Andrejsala in year 2010. [http://impulsivehabitat.com/index.htm]

DOUG HORNE: SLOWRADIO 1 — FOR RADIO BOREDCAST

Doug Horne has been doing free-form radio and dabbling in audio art for the last 27 years at the radio stations CHRW, CKMS, and CFRU in Ontario Canada. His most curious achievement was curating the long-running and completely unknown audio-art show "Frequent Mutilations" on CKMS until it was over-run by cretin hordes in 2008. He has carried on audio art-based radio with the collaborative long-distance show "The Mannlicher Carcano Radio Hour" (his portion originating from CFRU in Guelph, Ontario). In his spare time Doug is an academic librarian who lives with his family and 8 chickens in a shack surrounded by sculptures made of rusty metal, and hopes one day to have an old car on blocks in his yard. [http://frequentmutilations.com/Frequent_Mutilations/Home.html]

PLAYLIST
Glenn Gould - The Silence in the Land
Residents - Eskimo
Field Recordings - Kitchener, Ontario, Canada
Bill Munroe - Blue Moon of Kentucky
Ledbelly - In the Pines
Roosevelt Sykes - Sweet Old Chicago
Hiledegard Westerkamp - Attending to Sacred Matters
Lonnie Johnson - Long Road to Travel

JEZ RILEY FRENCH: A QUIET POSITION — SLOW EDITION — FOR RADIO BOREDCAST
Almost 14 hours of work exploring aspects of duration and extended listening....

Jez riley French, Dawn Scarfe, Philip Thomas, Stephen Chase, Martin Archer

Catherine Lamb, Lauren Redhead, Matthew Sansom, Antoine Beuger, Doublends Vert,  Thelmo Chritovam, Paul Nataraj, Carlo Giordani, Darius Ciuta, Johnny Chang, Gordon Hempton, Mecha/Orga, Jennifer Allum, Eddie Prevost, Herve Perez, Sunmin Hwang, Nomi Epstein, Fergus Kelly

A quiet position: slow edition - part one
1. introduction
2. Jez riley French - ‘score for church and zither # 10’
3. Carlo Giordani - ‘Neve’
4. Thelmo Cristovam - ‘Distribuiçāo Atmosférica’
5. Darius Ciuta - ‘L-L-L’
6. Antoine Beuger - ‘Ockeghem Octets’
7. Jez riley French - ‘hedge, norfolk’
8. Sunmin Hwang - ‘Wriggler for a boring life’
9. Johnny Chang - ‘Solitary luncheon(s). Early evening church bells plus toy guitar.
Concert/ Manfred Werder . Violin-Noise-Action’
10. Paul Nataraj - ‘2-8-11 morning’
11. Mecha/Orga - ’24-13’
12. Jez riley French - ‘forest trees, estonia # 2’
13. Fergus Kelly - ‘Breathing room’
14. Gordon Hempton - ‘One square inch of silence’

A quiet position: slow edition - part two
1. introduction
2. Jez riley French - ‘sheep grazing at flaxfleet’
3. Jez riley French - ‘as054 - outside boiler room’
4. Dawn Scarfe - ‘Lenses (2010)’
5. Jennifer Allum & Eddie Prevost - ‘Dolwilym Penumbrae’
6. Matthew Sansom - ‘Mêtis_Prague’
7. Jez riley French - ‘that crosses the humber’
8. Nomi Epstein - ‘Sextet’
9. Doublends Vert - ‘Cistern’
10. Lauren Redhead - ‘Overture’
11. Coast Guard All Stars - ‘main set / live’

I listen....a lot. It’s a pleasure and like most pleasures there is much to be gained by finding ways to luxuriate in its hold. In a broad definition of the term, ‘field recording’ has always been linked to extended listening, to the act of waiting for ones ears to open wider and wider. It is only the limitations of technology that allowed for the audio snapshot to slowly erode the concept of durational listening - to influence film, tv and recorded music / sound. The space available on wax cylinders and other early recoding mediums reduced discoveries to seconds or minutes. No one thought how this could, in turn, effect the way we hear the world. Much has been written or spoken about the positive effects of field recording. It is, for the most part, undeniable. However, the reduction of sound to tiny sections in order to diffuse the recordists discoveries still exerts a somewhat conventional influence even on those artists / recordists who consider themselves experimental. In fact, as is often the case, these ideas are just not considered. We must return, carrying with us the benefits of our gathered explorations, to experiencing the world unhindered by the limits of a technology. To use that technology as an addition but not to allow it to restrict our perceptions. To listen is the important part of this. To a quiet position: slow edition listen, limited only by our imagination and willingness to accept our place within environments.

For this edition of ‘a quiet position’ I have gathered pieces submitted through an open call for work considering aspects of slowness and durational listening, along with some pieces of my own. All of these are ‘recordings of fields’ - they reference the act of finding or placing sounds within environments - physical or ephemeral. The question of how these pieces are slow, durational, extended & how they can be taken as ‘field recordings’ is best left to the individual. I would only add that the field is limitless - the studio is merely a construct around a smaller field. It is how one approaches the field that is the key. (Jez Riley French) [http://aquietposition.tumblr.com]

[http://jezrileyfrench.blogspot.com]

DANIELA CASCELLA: 31 DAYS, SLOW AND STILL

31 DAYS READING LE PONT MIRABEAU BY GUILLAUME APOLLINAIRE AT 8.30AM — FOR RADIO BOREDCAST
Le pont Mirabeau is a poem by Guillaume Apollinaire, published in his 1913 collection Alcools. In response to the theme and the structure of As Slow As Possible/Radio Boredcast, I chose to record myself reading Le pont Mirabeau at 8.30 in the morning for 31 days, anticipating and mirroring the duration of the broadcast in a different place and at a different time.

I chose this poem because of its slow flowing against its slowing into stillness — the flow of water, time and words in the stanzas against the circularity of time in the refrain. The adjective ‘slow’ appears still in the third stanza, the same one that contains ‘love’, ‘hope’, ‘violent’. The adjective ‘still’ appears slow in the refrain, as an impossibility. In the original French poem, ‘slow’ rhymes with ‘violent’ and ‘still I stay’ with ‘hours’.

The lack of punctuation throughout the poem calls not only for a flow of words, but also for different rhythms and meanings arising out of each reading. The readings always took place in my office, sometimes as dedicated recordings, sometimes while I was preparing to go out, sometimes while I was reading the paper or checking the news online. I learned the poem by heart, so sometimes the recordings mirror my small hesitations and gaps in recalling the verses. An old phonograph recording of Apollinaire reading the poem (from the Archives de Parole, Collection Phonothèque Nationale - Bibliothèque Nationale, Paris) supported some of the readings.

Daniela Cascella is a writer and curator based in London since 2009. Her research is focused on sound and on the way it seeps into other formats, most of all text. Her most recent projects explore and employ fictional tropes in writing criticism and descriptions of sound in fiction. She has recently finished writing her third book, En abÎme: a narrative across listening, reading and writing-as-landscape, as part of her research in the MFA Art Writing at Goldsmiths College that she completed in 2011. http://[www.danielacascella.com]

AXEL STOCKBURGER: SLOWNESS — BOREDOM — FOR RADIO BOREDCAST
Axel Stockburger's broadcast connects slowness to the notion of boredom, touching upon subjects such as existential boredom, conceptual art and Andy Warhol's films.

Axel Stockburger is an artist and theorist who currently lives and works in Vienna. He studied at the University of Applied Arts in Vienna with Peter Weibel and holds a PhD from the University of the Arts, London. His films and installations are shown internationally. Among other projects he has initiated the independent art television channel TIV in Vienna in 1998 and collaborated on international projects with the London based media art group D-Fuse (2000-2004). At present he works as scientific staff member at the Department for Visual Arts and Digital Media / Academy of Fine Arts in Vienna. [http://www.stockburger.at/]

ERGO PHIZMIZ SINGS GILBERT AND SULLIVAN: THE PIRATES OF PENZANCE — FOR RADIO BOREDCAST
Around the age of 11 or 12 I became obsessed with the comic operettas of Gilbert & Sullivan. This fascination lasted around 3 years. There were posters of W.S. Gilbert (the "S" stands for Schwenck, rather spectacularly) and Arthur Sullivan on my bedroom wall.

For years the thought of returning to their works "from memory" has been at the back of my mind. My very boring contribution to Radio Boredcast is "acappella" versions of the G & S operettas "HMS Pinafore", "Iolanthe", "The Pirates of Penzance" and "The Mikado".

Some of them I know better than others. In the cases where I didn't know the melodies, I made them up or roughly talked through them. I also decided to not use different voices for characters (these recordings are my second takes - the first takes sounded like The Goon Show and to be honest I had far too much fun doing them for it be genuinely boring), and to omit stage directions, so we are left with a very boring barrage of Victorian words, tuned and untuned, from my tired, monotone voice.

Ergo Phizmiz is a composer, writer, and multimedia artist. He makes pop, theatre, installations, opera, radio-art, radioplays, sound-collages and performances. He lives in Bridport, UK, and has a headache. He never wants to perform Gilbert & Sullivan again. [http://ergophizmiz.net]

SOME ASSEMBLY REQUIRED: DJ FOOD
Jon Nelson is the host and producer of the nationally syndicated radio program Some Assembly Required. He's also a collage artist and curator. [http://www.some-assembly-required.net]

PLAYLIST 
DJ Food — “Break”
DJ Food — “The Riff”
DJ Food — “Cookin'”
DJ Food — “The Ageing Young Rebel”
DJ Food — “Raiding the 20th Century - Words & Music Expansion (Part 3)”
DJ Food — “Raiding the 20th Century - Words & Music Expansion (Part 4)”
DJ Food — “Sunvibes”

MR ROTORVATOR: DUST BUSTERS — FOR RADIO BOREDCAST
Mr Rotorvator (Adrian Phillips) studied horticulture in the early 90's and subsequently spent many hours breaking up old ground with the aforementioned machine in preparation for laying out new gardens. On rainy days he would find himself indoors, watching exercise videos or twiddling with his turntables and wondering, would a similar process work on his old record collection? Experimenting with various discs, he found that jamming the stylus at various points would produce interesting new rhythms. "I loved my old vinyl but was a bit bored with it too, what if I could chop up all the best bits from lots of different records and play them all at the same time, it's bound to sound great!" He was, of course, proved wrong but along the way some original sounds have been produced.

 

[TOP]

LANGUAGE REMOVAL SERVICES: SAMPLER V2

Chris Kubick is an artist, composer and sound designer who works under a variety of pseudonyms, including Language Removal Services, an institute and laboratory founded by one Dr. Raymond Chronic that may or may not exist solely as the web site http://[www.languageremoval.com]. Kubick frequently collaborates with Anne Walsh, and together they have created ARCHIVE, whose best-known project, entitled Art After Death consists of interviews with artists who have died conducted through spirit mediums. Together their work has appeared in the 2002 Whitney Biennial and at the Yerba Buena Center for the Arts, San Francisco; the Museum of Contemporary Art, Los Angeles; and the Royal College of Art, London. Kubick has been heard on public radio in the U.S., Canada and Great Britain.

OLD SHIPPING FORECAST

PRIMATE ARENA PRESENTS MAN MOUNTAIN SNORE — FOR RADIO BOREDCAST

Man Mountain Snore is a set of realizations and procedures for the collective realizations of pieces based on recordings of people’s snores. This hour long excerpt is extracted from the germinal recording, which lasts 5 hours and 30 minutes.

Hosted by Eran Sachs and Alex DROOL, PRIMATE ARENA is a bi-weekly freeform happening for experimental & out muzak events (mostly in Tel Aviv), dedicated to Psych, EAI, Noise, Speech/Sonic/Concrete Poetry, Avant Rock, post millennial obscurities, pre millennial obscurities, the history of 20th century experimental music & other adventurous ventures. Over the past three years they have created a platform - central to Tel Aviv's now vibrant, thriving scene - that has nurtured a community of adventurous local musicians including Maya Dunietz and Yoni Silver and hosted visiting internationals such as Blood Stereo, Jérôme Noetinger, Usurper, Arnaud Rivière, Ignatz Schick, Daniel Padden, Bob Ostertag and many others.

STEPHEN P MCGREEVY: MUSIC OF THE MAGNETOSPHERE
[http://www.auroralchorus.com/]

FENNESZ: LA PETITE CHAPELLE — MORNING

From Spire: Live at The St. Pierre Cathedral, Geneva

TRANSMUTEO: EPISODE 1 — ENTERING THE CRYSTAL CATHEDRAL — FOR RADIO BOREDCAST

Transmuteo is the audiovisual, multimedia project of Jonathan Dean, along with various collaborators, both visual and musical. The project encompasses sound, video, visual art, gallery installation and experimental online social networking. The sound of Transmuteo is inspired by new age music, especially the pioneering 1970s and 80s work of Iasos, Bearns & Dexter, Steve Halpern and Malcolm Cecil. New age beliefs - Dolphin Consciousness, The Melchidezek Method, crystal healing, Angelic Reiki - provide a conceptual basis for the audio. The project utilizes samples, environmental sounds, cassette tapes, effects pedals, synths and analog drone to create dense, textural, psychedelic music that revels in the shining artifice of the New Age.

PLAYLIST

01 Bearns & Dexter - Quasars | The Golden Voyage Vol. 1 Awakening Productions, 1977
02 Iasos - Crystal-White-Fire-Light | Elixir Inter-Dimensional Music, 1983
03 Ashra - Ocean Of Tenderness | New Age Of Earth Virgin, 1977
04 Dolphins Into The Future - Ke Ala Ke Kua | Ke Ala Ke Kua K-RAA-K, 2010
05 Oneohtrix Point Never - Format & Journey North | Zones Without People Arbor, 2009
06 Michael Stearns - Something's Moving Planetary | Unfolding Continuum Montage, 1981
07 Dylan Ettinger - The Waterfront | New Age Outlaws Not Not Fun, 2010
08 Transmuteo - Timeless Emergence | Cymaglyphs Rotifer Cassettes, 2011
09 Edward Larry Gordon - Bethlehem | Celestial Vibration SWN, 1978
10 Ray Lynch - The Oh Of Pleasure | Deep Breakfast Ray Lynch Productions, 1984
11 Hieroglyphic Being - The Visitation | So Much Noise 2 Be Heard Mathematics 2009
12 Iasos - Lueena Coast | Inter-Dimensional Music Unity Records 1975
13 Joel Vandroogenbroeck - Magnetic Blues | Images Of Flute In Nature Cenacolo, 1978
14 Chris Spheeris - Tibet | Electric Europe Columbia, 1982
15 Constance Demby - Part One | Novus Magnificat: Through The Stargate Hearts of Space, 1986

The project began in early 2011 in Tallahassee, Florida, where several multimedia performances were mounted which combined video, music and group meditation. The debut release for the project was released on July 15th of 2011, a cassette entitled Cymaglyphs on the Rotifer label based in Northern California. The small edition of the tape sold out in a week. January 2012 will see the release of Dreamsphere Megamix, a 90- minute cassette that utilizes binaural technology to induce a series of energetic awakenings in the listener. The cassette will be accompanied by a limited edition book containing digital art by Transmuteo, along with instructions for "dreaming awake" in the New New Age. [http://transmuteo.tumblr.com]

PSEU BRAUN AND ALEX ORLOV: MANENS IN LIMBO — FOR RADIO BOREDCAST

Dear Listener, We have all been here, nudged (ever so gently) over the threshold of rationality into the roiling ocean of futility where seconds entrap like amber. An appointment with Social Services, fifth-grade algebra class, a delayed flight, afternoons in the office cubicle — these are all manifestations of feebleness in our structured reality, a glimpse into the abyss of time. It is in these moments, as sensorial mummification sets in, when we have an opportunity to stare down this peculiar black hole. Bon voyage, Pseu Braun and Alex Orlov

Pseu Braun has hosted a radio show on WFMU for 20 years and has participated in a few noisy endeavors for a decade longer than that. She spent 16 years of her life as a phone company employee. Alex Orlov worked at the phone company for 12 years prior to his current job as an office efficiencies specialist at the Ministry of Blank Stares. He enjoys watching outdoor sports on TV and having the occasional American beer on the weekends. Playlists for Pseu Braun's radio show - [http://www.wfmu.org/playlists/HK]

NULA PRESENTS... FOR RADIO BOREDCAST

55875 partly consists of field recordings from spain from urban and seascape environments, and also includes sound ambiences drawn from the 1936 film 'by the bluest of seas'.

nula.cc began in 2009 as a series of filecasts emanating from an online presence. The aim of the project has been left somewhat vague, which serves a twofold purpose: to allow for free experimentation with the understanding that outcomes are necessarily unpredictable; and, to let the online collection and the works it contains speak for themselves as much as possible.

As it turns out, a substantial number of the nula filecasts are audio works (tho video and other media also appear in the collection). Many of these audio works are "slow" in the sense that they unfold gradually (if at all) or set an atmospheric tone that runs for an extended time. This, too, serves a dual purpose: it allows for a kind of "deep" listening and it also allows the work to be used atmospherically as a backdrop to other experiences.

I have assembled several sequences, each combining sound from two or three of the filecasts, sometimes substantially altered from the versions that appear at nula.cc. I have tried to make each sequence work as a cohesive whole. I invite listeners to visit nula.cc and explore there for further works of this kind.

Lloyd Dunn, Prague, 2011, [http://nula.cc/]

OTHER MINDS: WORLD EAR PROJECT — US NAVAL SUPPLY CENTER

Several recordings made by Charles Amirkhanian from a backyard on Magnolia

Bluff overlooking the U. S. Naval Supply Center railroad yard in Seattle, Washington, on Aug. 12, 1970. Recording from Naval Capt. John Hansen’s house at 1963 23rd Ave. W. at several points during the day (7:17 PM to 7:30 PM and 11:36 PM to 11:48 PM) with the mic in a couple of slightly different locations, Amirkhanian captures the sounds of trains squealing and seagulls crying and other ambient sounds. [http://www.archive.org/details/WEP_1970_08_12_02][http://radiom.org]

KEN’S LAST EVER RADIO EXTRAVAGANZA: GO AT THE SPEED YOU’D LIKE TO GO

Today, our whole downtown is completely enclosed, and we have a welcome neighbor: A GE nuclear power plant. [http://counterfolk.com/ken/extrav/audio/050322.shtml]

DANIELA CASCELLA: 31 DAYS, SLOW AND STILL

31 DAYS READING LE PONT MIRABEAU BY GUILLAUME APOLLINAIRE AT 8.30AM — FOR RADIO BOREDCAST

Le pont Mirabeau is a poem by Guillaume Apollinaire, published in his 1913 collection Alcools. In response to the theme and the structure of As Slow As Possible/Radio Boredcast, I chose to record myself reading Le pont Mirabeau at 8.30 in the morning for 31 days, anticipating and mirroring the duration of the broadcast in a different place and at a different time.

I chose this poem because of its slow flowing against its slowing into stillness — the flow of water, time and words in the stanzas against the circularity of time in the refrain. The adjective ‘slow’ appears still in the third stanza, the same one that contains ‘love’, ‘hope’, ‘violent’. The adjective ‘still’ appears slow in the refrain, as an impossibility. In the original French poem, ‘slow’ rhymes with ‘violent’ and ‘still I stay’ with ‘hours’.

The lack of punctuation throughout the poem calls not only for a flow of words, but also for different rhythms and meanings arising out of each reading. The readings always took place in my office, sometimes as dedicated recordings, sometimes while I was preparing to go out, sometimes while I was reading the paper or checking the news online. I learned the poem by heart, so sometimes the recordings mirror my small hesitations and gaps in recalling the verses. An old phonograph recording of Apollinaire reading the poem (from the Archives de Parole, Collection Phonothèque Nationale - Bibliothèque Nationale, Paris) supported some of the readings.

Daniela Cascella is a writer and curator based in London since 2009. Her research is focused on sound and on the way it seeps into other formats, most of all text. Her most recent projects explore and employ fictional tropes in writing criticism and descriptions of sound in fiction. She has recently finished writing her third book, En abÎme: a narrative across listening, reading and writing-as-landscape, as part of her research in the MFA Art Writing at Goldsmiths College that she completed in 2011. http://[www.danielacascella.com]

VENERABLE MAHINDA: GUIDED MEDITATION ON METTA AND MIND

Born in Malaysia, Ven. Mahinda was ordained as a Buddhist monk in the Theravada tradition 20 years ago under the tutelage of Ven. Dr. K. Sri Dhammananda. He undertook Buddhist studies and training in Sri Lanka (1977-1982) and practice Buddhist meditation under several masters in Sri Lanka, India, Myanmar and Thailand.
Guided Meditation on Metta and Mind
Dhamma Talk - The Practice and Benefits of Metta
Metta Sutta in Pali and English
Venerable Mahinda is currently the Abbot of[ Aloka Meditation Centre], NSW, Australia. He has given lectures and seminars on Buddhism, meditation and its application in daily lives at many high schools, universities and community organisations. His attendance at international conferences and interfaith dialogues have taken him to more than 30 countries. [http://www.dhammaweb.net/mahinda.html][http://www.justbegood.net/Downloads.htm]More Buddhist audio at [http://freebuddhistaudio.com]

RADIO BOREDCAST PRESENTS... VEXATIONS

PLAYLIST

Vexations - side A [composed by Erik Satie] - Reinbert de Leeuw
Vexations, Version 1 - Jimi Tenor
Pianoless Vexations (Sculpture Center, NYC, June 11 2006) - David Grubbs
Vexations 1801 (Satie-Schabata-Schwaller) - The Vienna Art Orchestra
Vexations, Version 2 - Jimi Tenor
Pianoless Vexations (Sculpture Center, NYC, June 11 2006) - Bruce Arnold Jazz Trio
Vexations, Version 3 - Jimi Tenor 
Vexations - side B [composed by Erik Satie] - Reinbert de Leeuw

STEVE REICH: MUSIC FOR 18 MUSICIANS SECTION V

RADIO BOREDCAST PRESENTS... SOUNDS FROM THE ETHER

Throughout the month, Radio Boredcast is making selections of themed music that fit the As Slow As Possible subject, either in an obvious or more ethereal way.  Sounds from the Ether should be taken both literally and symbolically in that we are featuring both radio recordings of "the ether" and also interviews with "the other world", and also using unidentified recordings and music with an other-worldly atmosphere.

Oyenbo Liaso (via VOA) - 7/17/2005, 15445 kHz (1948 UTC) - Kiké Lomo
11/20/2005, 9251 kHz (1907 UTC) - The Lincolnshire Poacher (E3)
Track 01 - Art After Death Vol. 2 - Yves Klein Speaks!
Track 02 - Art After Death Vol. 2 - Yves Klein Speaks!
Track 03 - Art After Death Vol. 2 - Yves Klein Speaks!
Radio Republik Indonesia - Unknown Artist - Sublime Frequencies
Track 04 - Art After Death Vol. 2 - Yves Klein Speaks!
Track 05 - Art After Death Vol. 2 - Yves Klein Speaks!
Track 06 - Art After Death Vol. 2 - Yves Klein Speaks!
Track 07 - Art After Death Vol. 2 - Yves Klein Speaks!
Qu'ran chanting - BSKSA, Saudi Arabia (Riyadh) 
Track 08 - Art After Death Vol. 2 - Yves Klein Speaks!
Track 09 - Art After Death Vol. 2 - Yves Klein Speaks!
Track 10 - Art After Death Vol. 2 - Yves Klein Speaks!
Speed of Light - Jonathan Borofsky aka Jonnie Hitler 
Piano Etude I (Alpha) - David Rosenboom 
Tell Tale 2.1 - David First 

ED PINSENT: JAP MIX — FOR RADIO BOREDCAST

Almost all of these Japanese rock bands come from the late 1990s - early 2000s and were labelled as part of a "psych-garage" movement of some sort; some of them were represented on a compilation called The Night Gallery in Japan, and Chris Moon did much to represent their work on his Last Visible Dog label in America. Unlike their immediate predecessors (the speed-freak psychedelic bands like High Rise, Marble Sheep, White Heaven and others who appeared on the Tokyo Flashback compilations), these bands sang dirge-like songs and had incredibly slow drumming along with their twangy reverbed guitars. As such they seemed to me to have a lot in common with Les Rallizes Denudes, a much earlier band who had formed in 1967 and continued playing until 1996, so I have included here a 1977 song by this band which surfaced on a French bootleg CD set. Tsurubami don't quite fit the theme, being benign psychedelic hippie types and an offshoot project from Acid Mothers Temple.

Much as I love this music, I also find a lot of it incredibly slow and boring to listen to, and often wonder how the musicians managed to maintain the rigid discipline needed to keep each song at the correct pitch of inertness. I think Les Rallizes Denudes excelled at doing this, and although they are held in high regard by many listeners, I find their interminable music mostly miserable and insufferable. I thought it would be interesting to compress as much as possible of these mixed emotions into the required hour-long slot, and aimed to deliver a sublimely tedious listening experience. Each song was selected with that aesthetic in mind, and accordingly the Doodles track was edited slightly to remove the upbeat ending segment to their song.

The nine tracks are played more or less in the following order, but with overlaps; at any one time in the piece there will be at least two simultaneous playbacks. English translations of some titles are supplied in square brackets.

PLAYLIST

01 Tsurubami, 'Hitsumyou O Gotoshite' (31:30) From Kaina, US LAST VISIBLE DOG LVD023 CD (2003)
Recorded in 2000 and originally released as a CDR by the same label.
02 LSD-March, '立体ランプ 明日のゴダール' (9:23)
[The Lamp - Tomorrow's Godard]
From Suddenly, Like Flames, US LAST VISIBLE DOG LVD064 CD (2005)
Originally issued as 突然炎のごとく, JAPAN WHITE ELEPHANT
RECORDS WER-001 (2002)
03 Doodles, '砂語り' (6:37)
From The Night Gallery, JAPAN ALCHEMY RECORDS ARCD-147 (2003)
04 LSD-March, '嵐の終わりに' (8:19)
[After The Storm (Alternate Version)]
From Suddenly, Like Flames, op cit.
05 Kousokuya, '移り' (15:06)
From 1st, JAPAN PSF RECORDS PSFD-132 CD (2003)
Recorded between August 1989 and June 1990.
Originally issued as RAY NIGHT MUSIC RNM0001 LP (1990)
06 Chouzu, '祈請' (7:48)
From The Night Gallery, op cit.
07 Les Rallizes Denudes, 'The Last One' (25:24)
From Le 12 Mars 1977 À Tachikawa,
FRANCE OVER LEVEL OVER 001CD (2003)
08 Miminokoto, 'Subeteha' (7:32)
From ライブ [Live] , USA LAST VISIBLE DOG LVD 048 (2003)
09 LSD-March, '悲しみの美少年' (6:48)
From The Night Gallery, op cit. Ed Pinsent is an artist, writer and broadcaster living in London. He is the creator of The Sound Projector, an annual music magazine which he edits and publishes himself, and a radio show of the same name for Resonance 104.4 FM. [http://www.thesoundprojector.com][http://comics.edpinsent.com]

DANIEL MENCHE — FOR RADIO BOREDCAST 

Daniel Menche presents his best of collection of found acetate home recordings from the 40s and 50s. Simple folks making their first recordings in their homes without any intention of non family members hearing them. These acetate records were collected from the homes of the deceased of the voices heard in these recordings. Also mixed in are various sound/noise and field recordings from Daniel Menche. All mixed together for a soundtrack to a really slow dream... record scratches and all.

PLAYLIST
0:00 - 4:45 Unknown Acetate Home Recordings from 1940s-50s
4:45 - 11:13 Daniel Menche: Recordings of roller skate rink with live organ (stereo shuffle mix)
11:13 - 14:10 Unknown Acetate Home Recordings from 1940s-50s
14:10 - 22:10 Daniel Menche: Rain falling on various metal objects.
22:10 - 26:55 Unknown Acetate Home Recordings from 1940s-50s
26:55 - 33:05 Daniel Menche: Raw field recording of buzzing electrical wires captured in the far mountains.
33:05 - 42:40 Mixing two different home acetate records of Japanese women signing Buddhist chants from 1940s
42:40 - 54:00 Daniel Menche: Bowed musical bass saw mix
54:00 - 1:02:45 Unknown Acetate Home Recordings from 1940s-50s
1:02:45 - 1:18:30 Daniel Menche: Fuzzed-out Electric Rhodes Piano drones
1:18:30 - 1:29:43 Unknown Acetate Home Recordings from 1940s-50s
Music Biography for Daniel Menche: [http://danielmenchebiography.blogspot.com] 

CODPASTE WITH PEOPLE LIKE US & ERGO PHIZMIZ: COLLAGE

When does it stop being completely isolated from the rest of the universe and step into the world of collage, adding another patch to the huge quilt of sounds that have gone before? People Like Us "start at the very beginning" and try to find out. Features sounds from Noah Creshevsky, DJ Earlybird, Brion Gysin and Kid Koala, amongst many others. [http://wfmu.org/playlists/shows/25942]

"Codpaste" was a weekly podcast series in which the two artists People Like Us and Ergo Phizmiz attempted to compose collage music from the very beginning, in a "work in progress" style, attempting to open up the creative process. The theory is that it is rare to see compositions made from the outset, and usually the audience are only invited in once the piece is finished, done and dusted. It could be that new light may be shed on the creation of art if the curtains are opened and the audience are given access to the raw, the imperfect and the wrong as well as the polished and the finished.[ http://www.peoplelikeus.org/codpaste.htm][http://www.wfmu.org/playlists/CT]

MATMOS: MUSIQUE CONCRETE HOUR 2 — FOR RADIO BOREDCAST

In response to the invitation to contribute sound that somehow speaks to the stated theme of slow audio, we have decided to focus upon musique concrete and its aftermath. The original practitioners of the musique concrete tradition - which was a global phenomenon, and not simply a continental one as it often supposed- had to work carefully, methodically, and above all, slowly. In order to capture, manipulate, process and assemble their work, decisions had to be made and enacted, plans drawn up, trials conducted and errors removed.  Lots of painstaking, hands on work stands behind each edit, each cut, each splice, each pass through a filter or into a process. The music soaks up and stores time, and it plays with time as a basic material. This music is both intensive and extensive in its demands upon its creators and its listeners. That said, we have not narrowly emphasized only the pioneers, but have sought to draw some connections between the first generation and subsequent audio, which seems to us to draw inspiration from this methodology. Slow down and enjoy.

Matmos is M.C. Schmidt and Drew Daniel, aided and abetted by [many others]. In their recordings and live performances over the last nine years, Matmos have used the sounds of: amplified crayfish nerve tissue, the pages of bibles turning, a bowed five string banjo, slowed down whistles and kisses, water hitting copper plates, the runout groove of a vinyl record, a $5.00 electric guitar, liposuction surgery, cameras and VCRs, chin implant surgery, contact microphones on human hair, violins, rat cages, tanks of helium, violas, human skulls, cellos, peck horns, tubas, cards shuffling, field recordings of conversations in hot tubs, frequency response tests for defective hearing aids, a steel guitar recorded in a sewer, electrical interference generated by laser eye surgery, whoopee cushions and balloons, latex fetish clothing, rhinestones on a dinner plate, Polish trains, insects, ukelele, aspirin tablets hitting a drum kit from across the room, dogs barking, people reading aloud, life support systems and inflatable blankets, records chosen by the roll of dice, an acupuncture point detector conducting electrical current through human skin, rock salt crunching underfoot, solid gold coins spinning on bars of solid silver, the sound of a frozen stream thawing in the sun, a five gallon bucket of oatmeal. [http://brainwashed.com/matmos/bio/]

KENNETH GOLDSMITH READS AT WALKER ART CENTER

Kenneth Goldsmith's writing has been called some of the most [exhaustive and beautiful collage work yet produced in poetry] by Publishers Weekly. Goldsmith is the author of ten books of poetry, founding editor of the online archive [UbuWeb], and the editor [I'll Be Your Mirror: The Selected Andy Warhol Interviews]. From 1996-2009, Goldsmith was the host of a weekly radio show on New York City's [WFMU]. He teaches writing at [The University of Pennsylvania], where he is a senior editor of [PennSound], an online poetry archive. In 2011, he co-edited, [Against Expression: An Anthology of Conceptual Writing] and published a book of essays, [Uncreative Writing: Managing Language in the Digital Age]. In May 2011, he was invited to read at The White House for President and Mrs. Obama's "A Celebration of American Poetry." Goldsmith will participate in [dOCUMENTA(13)] in Kassel, Germany, 2012. [http://epc.buffalo.edu/authors/goldsmith/][http://www.writing.upenn.edu/pennsound/x/Goldsmith.html][http://ubu.com/]

MOUTHCRAZY: BLUE GREY BLUE GREEN

Blue Grey Blue Green is a track taken from the album Open / Open Wide by the band Mouthcrazy. The album was released as a limited edition vinyl by American label Ecstatic Yod in 1996. Mouthcrazy are Sharon Gal — Voice & Electronics, Richard Young — Bass, Justin Harries — Guitar/ Keyboard. Blue Grey Blue Green is a slow evolving free improvisation and was recorded the first time the band played together.

RADIO WEB MACBA PRESENTS COMPOSING WITH PROCESS: PERSPECTIVES ON GENERATIVE AND SYSTEMS MUSIC 4.2

BY MARK FELL AND JOE GILMORE

Ràdio Web MACBA is the Museu d'art contemporani de Barcelona (MACBA) online radio project.  [http://rwm.macba.cat]Curated by Mark Fell and Joe Gilmore. Narrated by Connie Treanor.
Each episode of this series is followed by a special accompanying programme of exclusive music by leading sound artists and composers working in the field. This show presents two works, the first by American composer Laurie Spiegel, followed by an excerpt of the soundtrack of a theatre play by Japanese composer Terre Thaemlitz. 

01:49 Laurie Spiegel 'A Harmonic Algorithm', 2011 (20' 24")
22:16 Terre Thaemlitz 'Substitution (Part 3: Questions)', 2011 (11'47")

[http://rwm.macba.cat/en/research/composingwithprocess_exclusives_laurie_spiegel_terre_thaemlitz/capsula]

WHEELIE HOUDINI: SEASICK DISCO — FOR RADIO BOREDCAST

Wheelie Houdini Presents summusikfrdiskodancingpartys volume 30 - Special Seasick Disko Edition. This mix came about originally, as a way to capture (mostly) recent tracks that create perceptive and tempo slippages  inside various dance music genres. Many of the tracks were chosen because they exclude sensations of deceleration, drag and lurch - a kind of seasick disco mix, if you will. None of the tracks have been altered or time stretched, except by + or - 5 BPM in order to mix them together smoothly. Average tempo of the mix is 100 BPM - slow, by dancing standards.

PLAYLIST

King Midas Sound - Cool Out 
Babe Rainbow - Screwby 
Bjørn Torske - Versjon Wolfenstein 
Invisible Conga People - In A Hole 
Tobias - Free No.1 
Chloe - One Ring Circus
Siriusmo - WoW - Modeselektor Edit 
BNJMN - Depressure 
Andy Stott - Love Nothing 
Forest Swords - Miarches 
Jan Jelinek - Planeten In Halbtrauer 
Battles - Inchworm 
Patrick Pulsinger - Impassive Skies
Actress - The Kettle Men 
Memotone - Multicolour 
Venetian Snares - You Discovered The Secret
Oni Ayhun - Meets Shangaan Electro 
Blondes - You Mean So Much To Me 
Rondenion - Dark Adaption 
Horror Inc - Creepuscule Wheelie Houdini is the alter DJ ego of Patti Schmidt. Once the host and producer of Canadian underground radio program, Brave New Waves on the CBC, she now spends her obsessive music time curating and programming for Montreal's festival of electronic music and digital creativity, Mutek.

OTHER MINDS: THE HISTORY OF SOUND POETRY

The History of Sound Poetry: An Introduction (November 14, 1976)
Charles Amirkhanian traces developments in 20th Century text-sound composition, including recorded examples by such historical figures as Kurt Schwitters, Raoul
Hausmann, Ernst Toch, Gertrude Stein, Mauricio Lemaitre, François Dufrene and Henri Chopin. [http://www.archive.org/details/HistoryOfSoundPoetry][http://radiom.org]

GWILLY EDMONDEZ SINGS... CHART SWEEP 1 — FOR RADIO BOREDCAST

We asked Gwilly to put on some headphones and sing along with Chart Sweep 1 specially for Radio Boredcast.  Why?  Because we can.
[http://www.ubu.com/sound/keesing.html]

Gwilly Edmondez has been making improvised music, composed music, collage and noise, officially, since co-founding Radioactive Sparrow in Bridgend, South Wales in 1980. Since 2004, in civilian life he has taught at the School of Arts & Cultures at Newcastle University. He currently performs and records as a solo artist and in multiple/multiplying group outfits. New work can be followed at the following locations:

[http://feltbeak.tumblr.com][http://www.kakutopia.com][http://www.youtube.com/user/prducer][http://vimeo.com/gwillyedmondez][http://freemusicarchive.org/label/Kakutopia/]

A selection of older work is also featured at UbuWeb:
[http://www.ubu.com/sound/edmondez.html]

MICHAEL RUBY: FLEETING MEMORIES — FOR RADIO BOREDCAST

This is a collection of memories that popped into my mind over a period of seven years at work, as a copy editor at The Wall Street Journal, across the street from the World Trade Center. As far as I can tell, the memories came from nowhere, with no relation to the mostly political articles I was editing about the Republican takeover of Congress, the government shutdown, Monica Lewinsky, the Starr Report, the downfall of Newt Gingrich, impeachment, Florida or Bush v. Gore. Many of the memories are glimpses of places, a street corner and nothing more, as if a major function of the mind were this continuous global positioning, this continuous murmuring, “Right now, I’m at the southeast corner of 10th Ave. and 64th St.” The places are distributed fairly evenly over the course of my life, with a somewhat disturbing precedence given to the streets around my childhood home at 251 Montrose Ave. in South Orange, N.J.

I first became aware of these memories in my twenties, but it wasn’t until my mid-thirties that I really paid attention to them.  A cascade began when I learned that my wife, Louisa, was pregnant with our first child, Charlotte, in 1993. A few years later, when I was taking care of identical-twin babies, Emily and Natalie, as many as three memories would pop into my mind while I was changing a single diaper. I tended to view them as memories being killed off by the brain. This was the last time they would enter my consciousness—at least until I short-circuited the dynamic. Maybe so many memories popped up because a powerful new experience was killing out an old experience, taking over its “engram,” or whatever. I didn’t have a chance to write down many memories, which are truly fleeting, during child care. Almost all the memories in this book were written in the right-hand margin of a sheet I filled out every day at work with the names and headline sizes of the stories I handled. Usually, a memory or two a day would float up, sometimes more, sometimes none. The most that ever floated up was nine, I think.  At the end of my shift, I would copy them into a little notebook, often to some raillery from Josh Rosenbaum, Peter Saenger or Tom Walker. I, of course, was happy to accomplish some psychic research at work. In later years, I would make a photocopy of the story sheet and add it to the pile in my desk drawer, turning in the original to the copy chief with the memories in the margin erased.

This steady drip of memories through the years, this slow accretion, began to dry up in the beginning of 2000.  In the third week of the new millennium, I was loaned for a few months from the national news department to the foreign department, where they didn’t fill out story sheets.  When I returned to national news, we had finally shifted from our antiquated CSI computer system to a new one, Hermes, which enveloped much more of my mental space.  I started recording memories again, but at a diminished rate.  Instead of a couple a day, there was only one a week.  That’s where things stood on September 11th.  Our building, the so-called World Financial Center 1, was severely damaged by the collapse of the south tower of the World Trade Center.  The newspaper was dislocated to South Brunswick, N.J.  I knew that years worth of memories, hundreds of copies of story sheets, were entombed in my desk.  From the fragmentary reports available to us about the state of our offices, it sounded like my memories would be fine, a bit dusty at worst.  I didn’t care about them inordinately anyway, because my impulse had waned.  During that October, a few people were allowed to retrieve computer hard drives and the like from the WFC, but it was discouraged, and I figured I could wait until the dust settled.  Then, we learned the copy desk was being permanently transferred to South Brunswick.  Workmen were going to gather our belongings on the 9th floor of the WFC, take them to another floor, vacuum off any toxic dust, then box and ship them to South Brunswick.  People who didn’t know me would be handling my things—a recipe for disaster.  The story sheets looked so unprepossessing someone could easily throw them out.  Special dispensations were possible, but again discouraged.  It took me about one second to decide to seek one.  I walked over to the “wartime cubicle” of Cathy Panagoulias, my former boss, who was in charge of the move.  “Cathy, you’ve got to save me.  I’ve got the last part of a book manuscript in my middle desk drawer at 200 Liberty.”  “What is it?”  “I know this might sound flaky, but you know the story sheets we fill out?  Every day I wrote a couple of memories in the margins.”  Cathy rolled her eyes, but said OK.  A few days later, I was notified that a special delivery of my things could be retrieved in the basement of Building 5 in the South Brunswick complex.  The vast space was mostly empty, with a few small islands of boxes on the concrete floor, but I learned that in a month 15,000 boxes would be there.  My unconscious out-of-order autobiography was safe, along with everything else, including the much-maligned pile of newspapers I always had on top of my desk.  I was pleased in a way to find that my last memory was from September 10th, and that it was portentous.  If our building had been destroyed by the attack, as one might have reasonably expected, all the memories after number 1035 would have been lost.

MICHAEL RUBY is the author of five poetry books: At an Intersection (Alef, 2002), Window on the City (BlazeVOX, 2006), The Edge of the Underworld (BlazeVOX, 2010), Compulsive Words (BlazeVOX, 2010) and The Star-Spangled Banner (Dusie, 2011). His trilogy, Memories, Dreams and Inner Voices, is forthcoming in Spring 2012 from Station Hill Press, and includes Fleeting Memories, an Ugly Duckling Presse ebook, and Inner Voices Heard Before Sleep, an Argotist Online ebook; his poetry book American Songbook is forthcoming in Fall 2012 from Ugly Duckling.  A graduate of Harvard College and Brown University’s writing program, he lives in Brooklyn and works as an editor of U.S. news and political articles at The Wall Street Journal.

STATEMENT ABOUT “POETRY AND SLOWNESS,” THE FESTIVAL THEME OF “AS SLOW AS POSSIBLE”

In the 1980s, when I was in my twenties, I tried and failed to write a manifesto about poetry. It began: Poems slow the reader down.  A good story makes readers want to leap ahead and find out what happened.  A good poem makes readers slow to a halt, lose themselves in the present of these few words, perhaps even going backward, realizing that there's more in what they passed than they thought.  It forces them to regard each word, to try to join the writer in selecting each word.  Words break free from their contexts. If we accept the view of Roman Jakobson, in fiction and nonfiction, the communication/mimesis predominates; in poetry, the words themselves predominate.  The signifier over the signified.

LANGUAGE poetry, by destroying conventional syntax, by putting words next to each other that don't normally go together, forces the reader to read one word at a time.  In a formal sense, it's pure poetry.  But what a sacrifice it makes to guarantee its purity.  Compare Clark Coolidge and Shakespeare, which is also pure poetry.

One way the writer causes the reader to slow down is by writing one word at a time.  However, prose can be written that way, too.  So what lets poetry further "charm" language?  The weight at the end of each line that we have to keep pushing aside? The cliche that a poem can't be paraphrased is another way of saying this. It's this that makes Stein and Zukofsky such radical figures in our tradition, though perhaps descendants of Rimbaud and Mallarme, who, in “Un Coup...,” partially accomplished this by spacing out the words.

Here are some related fragments: It was in this period that it became important for me not to talk to anyone when I was writing, to completely sequester myself from other people.  Writing poetry became an alteration in my relationship to language, a glacial slowing of the rate at which words come to me. Poetic composition became a glacial slowing of the rate at which words come to me. Poems slow down the flow of language to one word at a time.

As I continued writing poetry in the 1990s and after, these ideas became somewhat dormant within me, and inapplicable to some of my books.  But I have always believed that poetry is a slowing down of the speed at which words come to me, both in reading and in composition.  Compared with speaking or email-writing, poetic composition is a glacial slowing of the rate at which words come to me, ideally to one word at a time, or even one syllable at a time.  “One word at a time”: That’s what I saw in Shakespeare and Frank O’Hara in the early ‘80s, that’s what I learned from Clark Coolidge in the early ‘90s. I believe there is nothing more antithetical to poetry than the high-speed performance of it, and I don’t understand why many experimental poets read their poems so rapidly.

ACID MOTHERS TEMPLE AND THE MELTING PARAISO U.F.O: IN C

 

[TOP]

BJNILSEN: SEA SAW — FOR RADIO BOREDCAST

Recorded and Mixed by BJNilsen, Berlin, March 2009
Benny Nilsen: Chair, Boundary layer microphone, Studer B67
[http://www.bjnilsen.com]

KOICHI MAKIGAMI AND ANTON BRUHIN: ELECTRIC EEL

DAVID SUISMAN: THE SLOWNESS OF MADAME DE T — FOR RADIO BOREDCAST

On the face of it, “The Slowness of Madame de T.” is a tale of seduction—a seduction all the more intense for being drawn out, “in all its splendid slowness.” On closer inspection, it is something more: a rumination on memory, on the intimate relationship between remembering and forgetting, slowness and haste. We keep some experiences with us, others are lost; the question here is not why this is so, but how. The text come Milan Kunera’s novel Slowness. Accompanying it are sounds by David Toop, Nino Rota, Helen Gurley Brown, Karen Dalton, Henry Flynt, Frederic Rzewski, Gasoline Stew and the Dump, The Stooges, Kinski, The Mebusas, Delia Derbyshire, Dudley Simpson, Brian Hodgson & David Vorhaus, Bernard Purdie, Julie London, Wizz Jones, Janet Cardiff, Åke Sandin, Slap Happy Humphrey, Michael Harrison, Blossom Dearie, Henry Jacobs, Scott Tuma, and Jacques Tati.

David Suisman is the author of Selling Sounds: The Commercial Revolution in American Music and associate editor of the Journal of Popular Music Studies. For several years, he hosted a freeform radio show called the Inner Ear Detour on WFMU, where he still occasionally DJs. He teaches history at the University of Delaware and lives in Philadelphia. [http://www.wfmu.org/playlists/ie]

CHARLIE: BUSY DOING NOTHING — SLOW PIANO SHOW — FOR RADIO BOREDCAST
Long pieces, slowly evolving structures, non-Western musical traditions, primitivism, and minimalism. No sonatas. 
Charlie Lewis has been compiling music since he got a tape recorder at age eight, but it was not until his involvement with WFMU that he was able to foist his musical conglomerations on the public at large. He has been doing just that, both at that beacon of freeform radio and at other stations, and also for fashion shows and such, since 1996. He has played in various combos ([http://bit.ly/tiWSoW]), and written lots of music ([http://bit.ly/tZEy2g]), but has yet to outdo this work ([http://bit.ly/vqiV0f]).  Charlie worked in broadcast audio and in the music business for many years, but now does the more honest work of selling patent medicine. [http://wfmu.org/playlists/CL][http://beingslowlynowhere.typepad.com/]

PLAYLIST

Piano (90 minutes):
bed: Phillip Glass - Wichita Sutra Vortex - Solo Piano
Burmese Ensemble - Powerful King of Thunder and Lightning - White Elephants and Golden Ducks: Enchanting Musical Treasures from Burma
Steve Reich - Octet - Music for a Large Ensemble/Octet
bed: Runaways UK - Piano Toon - Classic Tales
Stravinsky - Augurs of Spring (2-piano arrangement) - Context 70 (various artists)
George Antheil - Sonata No. 1 for Piano and Violin, Fourth Movement - Music for Violin and Piano 
Tom Johnson - The 2-, 3-, and 4-Part Chords - The Chord Catalogue
bed: Phillip Glass - Wichita Sutra Vortex
Emahoy Tsegué-Maryam Guèbrou - The Homeless Wanderer - Ethiopiques 21
Jeanne Lee and Ran Blake - Laura - The Legendary Duets
bed: Paul Dasken - Busy Day - Speckled Ax
Gyorgi Ligeti - Musica Ricercata II - Eyes Wide Shut (soundtrack)
Margaret Leng-Tan - Alvin Lucier: Nothing Is Real (Strawberry Fields) - Ghosts And Monsters: Technology And Personality In Contemporary Music
Aki Takahashi - Guy Klucevsek: Monk's Intermezzo (I Want You) - Norwegian Wood: Hyper Music from Lennon and McCartney
bed: Runaways UK - Piano Toon
Morton Feldman - Piece for Four Pianos - The Early Years 

RADIO WEB MACBA PRESENTS SON[I]A 142: INTERVIEW WITH ANRI SALA

Ràdio Web MACBA is the Museu d'art contemporani de Barcelona (MACBA) online radio project. [http://rwm.macba.cat]Son[i]a talks to Anri Sala about his work, the use of absence, and the relationship between ruptures and the continuum of history. [http://rwm.macba.cat/en/sonia/sonia_anri_sala/capsula]'1395 Days without Red' is a cinematic project by Šejla Kamerić and Anri Sala in collaboration with Ari Benjamin Meyers. Conceived, developed and filmed collaboratively, it led to the production of two separate films, which were presented together for the first time at MACBA. The two films take viewers on a journey into the past from the perspective of the present, through the artists' daily routes in today's Sarajevo, which recreate what was once known as 'Sniper Alley'. Anri Sala's film was made in collaboration with Liria Begeja. In his films, photographs and installations, Anri Sala has developed a body of work in which the notions of space, time and sound become interlinked key elements approximating fragments of a more complex reality. Through a seemingly simple story, he places the viewer in a complex scenario from a social, political and historical point of view. In many of his works, sound is an essential structural element that requires a huge conceptual leap: he does not make sound tracks for his films; he makes sound track films that are increasingly musical, less narrative and extremely abstract.

TAPEWORM PRESENTS... PHILIP CORNER — FOR RADIO BOREDCAST

The Tapeworm is a cassette-only label. No barcodes. The cassette will never die! Long live the cassette! [http://www.tapeworm.org.uk/]

Philip Corner (b. 1933) is an American composer, musician and visual artist. His teachers include Henry Cowell and Olivier Messiaen. While on military duty in Korea in 1960-1961 he studied calligraphy with Ki-sung Kim and many of his works have calligraphic scores. A founder member of Fluxus, Corner has performed with George Maciunas, Dick Higgins, Yoko Ono and Nam June Paik. From 1967 to 1970 he taught the course in Experimental Composition at the New School for Social Research, which John Cage initiated in 1956. He was a member of Judson Dance Theater as both dancer and composer and has written scores for dance pieces by James Waring, Yvonne Rainer, Lucinda Childs and Elaine Summers among many others. He lives in Reggio nell’Emilia with his wife and performing partner, the dancer and choreographer Phoebe Neville. His wide-ranging output includes numerous works for gongs, bells, metal percussion and gamelan orchestra.

"Piano Work'd" explores the rich sonic possibilities afforded by the dismantling of a piano. Corner recorded the performance on 19 August 1983 at Archivio F. Conz, Verona, using a Sony Walkman Professional WM-D6 and a Sennheiser Kunstkopf microphone. The finished object that resulted from this action is the property of the Archivio F. Conz, Verona. The audio for this edition was remastered in 2011 by BJNilsen and released on cassette in an edition of 200 copies by The Tapeworm in January 2012.
[http://en.wikipedia.org/wiki/Philip_Corner]

RADIO BOREDCAST PRESENTS... SAFE HARBOURS

Throughout the month, Radio Boredcast is making selections of themed music that fit the As Slow As Possible subject, either in an obvious or more ethereal way. Safe Harbours is a collection of seaside, harbour and watery recordings, with some other atmospheric recordings that just seem too fit in with this.

LEIF ELGGREN AND THOMAS LILJENBERG: ZZZ...

Sleeping at Firework Edition, Stockholm, June 19, 1995. In conjunction with the project/book "Experiment with Dreams"

QUALITY CEEFAX MUSIC

RADIO BOREDCAST PRESENTS... DUB SELECTION

Throughout the month, Radio Boredcast is making selections of themed music that fit the As Slow As Possible subject, either in an obvious or more ethereal way.  Dub music, in the original definition (coming from reggae music) encapsulates slowness and spaciousness. Often the reverb and echo effects are very psychedelic, or there are layers of sound effects that turn it into a journey through sound... a soundscape, a very active experience for the imagination...

TRANSMUTEO: EPISODE 1 — ENTERING THE CRYSTAL CATHEDRAL — FOR RADIO BOREDCAST

PLAYLIST

01 Bearns & Dexter - Quasars | The Golden Voyage Vol. 1 Awakening 
Productions, 1977
02 Iasos - Crystal-White-Fire-Light | Elixir Inter-Dimensional Music, 1983
03 Ashra - Ocean Of Tenderness | New Age Of Earth Virgin, 1977
04 Dolphins Into The Future - Ke Ala Ke Kua | Ke Ala Ke Kua K-RAA-K, 2010
05 Oneohtrix Point Never - Format & Journey North | Zones Without 
People Arbor, 2009
06 Michael Stearns - Something's Moving Planetary | Unfolding 
Continuum Montage, 1981
07 Dylan Ettinger - The Waterfront | New Age Outlaws Not Not Fun, 2010
08 Transmuteo - Timeless Emergence | Cymaglyphs Rotifer Cassettes, 2011
09 Edward Larry Gordon - Bethlehem | Celestial Vibration SWN, 1978
10 Ray Lynch - The Oh Of Pleasure | Deep Breakfast Ray Lynch Productions, 1984
11 Hieroglyphic Being - The Visitation | So Much Noise 2 Be Heard 
Mathematics 2009
12 Iasos - Lueena Coast | Inter-Dimensional Music Unity Records 1975
13 Joel Vandroogenbroeck - Magnetic Blues | Images Of Flute In Nature 
Cenacolo, 1978
14 Chris Spheeris - Tibet | Electric Europe Columbia, 1982
15 Constance Demby - Part One | Novus Magnificat: Through The 
Stargate Hearts of Space, 1986

Transmuteo is the audiovisual, multimedia project of Jonathan Dean, along with various collaborators, both visual and musical. The project encompasses sound, video, visual art, gallery installation and experimental online social networking. The sound of Transmuteo is inspired by new age music, especially the pioneering 1970s and 80s work of Iasos, Bearns & Dexter, Steve Halpern and Malcolm Cecil. New age beliefs - Dolphin Consciousness, The Melchidezek Method, crystal healing, Angelic Reiki - provide a conceptual basis for the audio. The project utilizes samples, environmental sounds, cassette tapes, effects pedals, synths and analog drone to create dense, textural, psychedelic music that revels in the shining artifice of the New Age.

The project began in early 2011 in Tallahassee, Florida, where several multimedia performances were mounted which combined video, music and group meditation. The debut release for the project was released on July 15th of 2011, a cassette entitled Cymaglyphs on the Rotifer label based in Northern California. The small edition of the tape sold out in a week. January 2012 will see the release of Dreamsphere Megamix, a 90- minute cassette that utilizes binaural technology to induce a series of energetic awakenings in the listener. The cassette will be accompanied by a limited edition book containing digital art by Transmuteo, along with instructions for "dreaming awake" in the New New Age. [http://transmuteo.tumblr.com]

RADIO BOREDCAST PRESENTS... DRONE TRANCE EASTERN PIPES AND TRAINS

Throughout the month, Radio Boredcast is making selections of themed music that fit the As Slow As Possible subject, either in an obvious or more ethereal way.  Drone Trance Eastern Pipes and Trains is a collection of sounds and music that evoke travel - upwards and outwards through the mind, body, world and beyond.

DJ/RUPTURE: CURIOSITY SLOWDOWN — PART 2

Jace Clayton is an interdisciplinary artist living in Brooklyn. His interests include music, technology usage in low-income communities, and public space, with an emphasis on Latin America, Africa, and the Arab world. Performing as DJ /rupture, Clayton has toured internationally, DJ’ed in a band with Norah Jones, done two John Peel Sessions, and was turntable soloist with the 80-member Barcelona Symphony Orchestra. Recent collaborators include guitarist Andy Moor (The Ex) and filmmaker Jem Cohen. He has lectured at Harvard University and other cultural/educational institutions in Europe and South America.

As DJ /rupture, Clayton has released several critically acclaimed albums and mix CDs, starting with 2001′s influential & groundbreaking live mix CD, [Gold Teeth Thief]. His recent album, Uproot, was named one of the 10 Best Albums of 2008 by Pitchfork. He maintains a blog, [Mudd Up!], and hosts a weekly radio show on [WFMU], which is re-broadcast on several European stations. [http://www.watermelonbullets.com/]

Coming So Close. DJ/Rupture's 2010 WFMU Marathon Premium

2.1 [Gregory Whitehead] — Twilight For Idols
2.2 Brock Van Wey — I Knew Happiness Once
2.3 Bowery Electric — Postscript
2.4 Telepathe — Drugged
2.5 Peter Broderick & Machinefabriek — Blank Grey
2.6 Sunroof! — Gold Carnation Legacy
2.7 Hotogisu* — Prayer Rug Exorcism I
2.8 Sunroof! — Bells
2.9 Bowery Electric — Under The Sun
2.10 Slowdive — Miranda

DANIELA CASCELLA: 31 DAYS, SLOW AND STILL

31 DAYS READING LE PONT MIRABEAU BY GUILLAUME APOLLINAIRE AT 8.30AM — FOR RADIO BOREDCAST

Le pont Mirabeau is a poem by Guillaume Apollinaire, published in his 1913 collection Alcools. In response to the theme and the structure of As Slow As Possible/Radio Boredcast, I chose to record myself reading Le pont Mirabeau at 8.30 in the morning for 31 days, anticipating and mirroring the duration of the broadcast in a different place and at a different time.

I chose this poem because of its slow flowing against its slowing into stillness — the flow of water, time and words in the stanzas against the circularity of time in the refrain. The adjective ‘slow’ appears still in the third stanza, the same one that contains ‘love’, ‘hope’, ‘violent’. The adjective ‘still’ appears slow in the refrain, as an impossibility. In the original French poem, ‘slow’ rhymes with ‘violent’ and ‘still I stay’ with ‘hours’

The lack of punctuation throughout the poem calls not only for a flow of words, but also for different rhythms and meanings arising out of each reading. The readings always took place in my office, sometimes as dedicated recordings, sometimes while I was preparing to go out, sometimes while I was reading the paper or checking the news online. I learned the poem by heart, so sometimes the recordings mirror my small hesitations and gaps in recalling the verses. An old phonograph recording of Apollinaire reading the poem (from the Archives de Parole, Collection Phonothèque Nationale - Bibliothèque Nationale, Paris) supported some of the readings.

Daniela Cascella is a writer and curator based in London since 2009. Her research is focused on sound and on the way it seeps into other formats, most of all text. Her most recent projects explore and employ fictional tropes in writing criticism and descriptions of sound in fiction. She has recently finished writing her third book, En abÎme: a narrative across listening, reading and writing-as-landscape, as part of her research in the MFA Art Writing at Goldsmiths College that she completed in 2011. http://[www.danielacascella.com]

CODPASTE WITH PEOPLE LIKE US & ERGO PHIZMIZ: CAN’T TELL A WALTZ FROM A TANGO

I Can't Tell A Waltz From A Tango - [http://www.wfmu.org/playlists/shows/25966]Can you? Vicki and Ergo offer a masterclass in the key of E Minor on all things that you can't dance to. Features the swinging sounds of Percy Faith, Charles Barlow & His Orchestra, Johann Strauss II and Ferrante & Teicher. "Codpaste" was a weekly podcast series in which the two artists People Like Us and Ergo Phizmiz attempted to compose collage music from the very beginning, in a "work in progress" style, attempting to open up the creative process. The theory is that it is rare to see compositions made from the outset, and usually the audience are only invited in once the piece is finished, done and dusted. It could be that new light may be shed on the creation of art if the curtains are opened and the audience are given access to the raw, the imperfect and the wrong as well as the polished and the finished. [http://www.peoplelikeus.org/codpaste.htm]

[http://www.wfmu.org/playlists/CT]

YOSHI WADA: OFF THE WALL — SIDE B

ERGO PHIZMIZ: 1000 YEAR MIX

"M: 1000 Year Mix" was composed between 2005-2006. The only Ergo Phizmiz composition created entirely out of samples (excluding works like "Cinemacollages", which he doesn't consider his own compositions in the same way), the work is a hunt for dialogues between the music of diverse times and cultures, from 1000-2000 AD. Not a "mix" in the conventional understanding of the word, samples are treated as raw material to be spliced, reshaped and assimilated, creating new melodies and progressions from tiny fragments of this raw material, exploring the interior of how music works, and how music transforms across geography and the passing of time.

Part One is an exploration of Tonality and Atonality in music. Part Two is on the subject of Noise and Ambience. Part Three is a play with the developments of Technology and their relation to music. Part Four is about the usage of the human voice. Part five about Rhythm. Part six is the final amalgamation, or, if you like, the party at the end.

"M: 1000 Year Mix" is not a piece that professes to give any clear answers to any overriding questions about music. It is, like all of Ergo Phizmiz's works, "playing" music, or "playing with music", exploring with a wink and a cheeky, perhaps slightly lascivious grin the internal mechanisms of how music works.

Like the majority of Ergo Phizmiz's works, it was generally ignored by the mainstream media, though not for the want of press-releases and promos! However, as has become habitual the forward thinking magnificence that is the blogosphere came through, and amongst a myriad other bloggings across the web, the piece was described in this way:

"Imagine a playlist of music spanning a complete millenium, mashed-up and masterfully mixed together so that the listener slides backward and forward through time, almost like a non-linear evolutionary chart of the sonic experience. Those who like a bit of experimentation in their music may find this composition as genius as I did. Kerouac had his "On the Road," Michaelangelo had his "David," and Phizmiz has his "M: 1000." Every artist has his masterpiece." - Jots From The Flipside, 2006

This was supposed to be the beginning of a projected long line of sample-driven works from Ergo. What happened instead was this piece wore out his capacity to create entirely sample based music, and he had no option but to return to other forms of composition.

[http://ergophizmiz.blogspot.com/2010/10/m-1000-year-mix-2010-remaster.html]

GWILLY EDMONDES: MANTRA — FOR RADIO BOREDCAST

2 — MANTRA (Gwilly Edmondez — voice & acoustic bass guitar)

‘Mantra’ takes as its starting point the definition of mantra as an ‘energy-based sound,’ proposing, initially, that the riff in rock music can be defined as such. What transpires is an hour-long performance that selects a riff and repeats it over an extended period, using it to support a vocal that starts with a casual chanting of the ‘Om.’ The performance follows a developmental logic that is in keeping with the nature of Gwilly’s mode of production.

Gwilly Edmondez has been making improvised music, composed music, collage and noise, officially, since co-founding Radioactive Sparrow in Bridgend, South Wales in 1980. Since 2004, in civilian life he has taught at the School of Arts & Cultures at Newcastle University. He currently performs and records as a solo artist and in multiple/multiplying group outfits. New work can be followed at the following locations:

[http://feltbeak.tumblr.com][http://www.kakutopia.com][http://www.youtube.com/user/prducer][http://vimeo.com/gwillyedmondez][http://freemusicarchive.org/label/Kakutopia/]

A selection of older work is also featured at UbuWeb:
[http://www.ubu.com/sound/edmondez.html]

DO OR DIY WITH PEOPLE LIKE US: 1234 — PART 2 — FOR RADIO BOREDCAST

1234 is a show all about counting in music, sound art, poetry and lunacy.

DO or DIY is a freeform sound art radio show broadcast weekly by Vicki Bennett (People Like Us) on WFMU. The philosophy behind the show is simple. That within the realms of avant-garde and experimental sound art the goalposts defining "accessible" and "inaccessible" are constantly moving. As the radar rises and dips, fragments and shards of underground creations unearth, and popular culture and artist resonate, shifting shapes accordingly with one another in reflections of changing spotlights. Each show consists of collages made of sound works from the 20th and 21st century, often layered and looped many times over, resulting in an album type effect on each show. [http://www.wfmu.org/peoplelikeus]

PLAYLIST

Phil Hendrie - Miami Beach Hello
R. Stevie Moore - Oldest Numbers
Brion Gysin - Pistol Poem
Asa Chang and Jun Ray - Kutsu
The Three Stooges - The Alphabet Song
Owada - 1,2,3,4
YOUR DJ SPEAKS Mystic Moods Orchestra - Theme From A Summer Place
Charles Bernstein - 1-100
Owada - 1-100
The Prisoner - Return Of Number 2
Simon Patterson - Colour Match
Claude Closky - Thumbs Up Thumbs Down
Owada - Feeling Blue
Mrs McWiggan - Phone Calls
YOUR DJ SPEAKS Mystic Moods Orchestra - Theme From A Summer Place
Letter People - Mr X.
Owada - 101-200
Niel Mills - Seven Number Poems
Accidentes Polipoetics - Po
Yoko Ono - Cough Piece
Charles Bernstein - 1-100
Bruce Nauman - No No No New Museum
Kenneth Goldsmith - Fidget 18:00
Charles Bernstein - 1-100
F. Uwe Laysiepen/Marina Abramovic - Bioguarde 
YOUR DJ SPEAKS Mystic Moods Orchestra - Theme From A Summer Place
Owada - Thirty Thirty
Speech Accent Archive
Philip Glass and Robert Wilson - Knee Play
Chris Burden - The Atomic Alphabet
YOUR DJ SPEAKS Mystic Moods Orchestra - Theme From A Summer Place
Charles Bernstein - 1-100
Negativland - Piece A Pie
People Like Us - Millennium Dome
Owada - Nothing
Nihilist Spasm Band - It's Not My Fault
F. Uwe Laysiepen/Marina Abramovic - Bioguarde

RADIO BOREDCAST PRESENTS... ONE HOUR OF ONE NOTE SAMBA

Much like the One Minute Waltz joke that it takes 20 minutes to play the One Minute Waltz, it's now going to take an hour to listen to the One Note Samba.

OTHER MINDS: ODE TO GRAVITY — INTERSPECIES MUSIC

For many years, Jim Nollman has explored the limits of human-animal communication. Along the way he has made some highly provocative tapes. In this program he talks with Charles Amirkhanian and introduces his recordings, including his now famous “Turkey Song”, in which human slide whistlers perform a call-and-response improvisation with the flock of gobblers at the Willy Bird Farm. Also heard is a recording of a colony of kangaroo rats and wild burros, made during a recent visit to Death Valley. The problem concludes with Jim and Charles taking calls from the audience and we hear a number of stories of human-animal duets, be it playing a harmonica with a dog or playing the bagpipes with a flock of geese. (September 17, 1975)

[http://www.archive.org/details/OTG_1975_09_17][http://radiom.org]

M.A. NUMMINEN SINGS WITTGENSTEIN

Mauri Antero Numminen was born in Somero on March 12, 1940. At the age of fourteen he became interested in jazz and used to listen to it played on the radio by the Voice of America. Around the same time he also started playing the drums. Viisi Vierasta Miestä ('Five Friendly Fellows') was M.A. Numminen's first own band. He not only listened to jazz, but was also interested in classical music, and later especially in modern concert music. Stockhausen, Arnold Schönberg and Edgar Varese were among his favourites, just to mention a few. Just like M.A. Numminen, the famous Finnish tango composer Unto Mononen also lived in Somero. Incidentally, M.A. Numminen was sometimes seen playing drums in Unto Mononen's orchestra. They played not only tango music but also contemporary hits as well as dance music in general.

In 1960 M.A. Numminen moved to Helsinki to study economics and political science at the University of Helsinki. Shortly afterwards he changed majors, and concentrated in sociology, philosophy, and linguistics instead. He also studied Finno-Ugric languages, folk poetry, Inuit and Bantu languages as well as astronomy. Numminen wanted to become a sociolinguist but things turned out differently: after eight years of studies he concluded that he was "nothing but a poor troubadour", after a popular Finnish tune. While at the university, Numminen studied the slang spoken in Helsinki. Slang, however, was not an acceptable subject of academic study at the time, and Numminen's interviews and tapes were left untouched for years. Only as late as in the 1990's Numminen was finally able to hand over his tapes to Prof. Heikki Paunonen, who was then compiling a new, extensive dictionary of slang. In his own thesis Numminen studied the dialect of Somerniemi.

ANDREW SHARPLEY: SLOW — FOR RADIO BOREDCAST

Ever been in a bar or a restroom with someone who won't stop talking? Logorrhea, I think they call it. A two hour monologue about slowness should be enough to put anyone to sleep: Andrew Sharpley obliges with a leisurely wander up and down the garden path by way of the hind legs of a donkey. You know where the door is.

Andrew Sharpley is perhaps best known as 1/4 then 1/2 of UK sampling unit Stock Hausen and Walkman, formed in 1991, they achieved what they had been working towards in 2001 by splitting up. Relocating to France, Andrew then spent the next ten years undertaking commissions, or playing in bands, from animation festivals to jazz festivals to arts festivals in champagne cellars, by way of wi-fi broadcasts in cars and too many hours spent in vans. His return to the UK in 2011 found him back where he started, and more productive for it. He presents these two broadcasts," slow" and " red herring", as evidence, although for what, is as yet unclear.

GUDRUN GUT: SLOW SOUP — FOR RADIO BOREDCAST

slow.
bloodpressure is low.
relatively. depending on circumstances.
faster than you think and slower than my heart.
actually around 90 bpm.
the set has parts of filmmusic i did recently and tuned down tracks from my solo live set as well as greie gut fraktion.
the mix is called slow soup.
stay slow.

Gudrun Gut is active in the music-scene since the 80ies, founding member of the bands Mania D, Malaria! and Matador. Since 1993 spoken word + performance project Miasma together with Myra Davies. Various record releases and live appearances. 1994 initiator of the Oceanclub, in 1997 she started her Label Monika Enterprise (Barbara Morgenstern, Cobra Killer etc) as well as producing and presenting the Oceanclub Radio Show for RadioEins Berlin together with Thomas Fehlmann. Since 2007 solo work and worldwide solo performances. 2010/11 Greie Gut Fraktion "Baustelle" with Antye Greie (AGF). 2012 new album in production. [http://www.gudrungut.com]

CHARLES POWNE: INDIAN SOUNDSCAPES - RAJASTHAN

1. TEMPLE BELLS, JHUNJHUNU 
Recorded from window of hotel room. I was sick with a bad case of Delhi Belly and it was all I could manage to record, and it's not very interesting!
2. SUNSET AT PUSHKAR
A really magical coincidence of location, time, and sounds. I'm right in the middle of some great conversations, there are nice birds, the temple bells are echoing across the lake. I'm moving across the bridge so the soundscapes keeps evolving gradually. Ends with some ugly American voices, unfortunately....
3. WALKING INTO PUSHKAR
All the sounds, including loud passing cars, music, people. It's very dynamic.
4. WEDDING BAND, PUSHKAR
Music so terrible, it's beyond description, it's so wrong.
5. GUTTERAL VOICED MAN, PUSHKAR
Sounds like a Tuvan throat singer. Heard in the background towards the end of the song. Not very good recording, could have been much better! Lots of vehicles and disco music.
6. SUNSET AT PUSHKAR
Similar to track 2, but not as magical. Starts with people talking, bells ringing in background, birds, music. I go walking along the bridge to the other side of the lake. It ends at the temple with very loud bells.
7. EVENING TEMPLE BELLS, PUSHKAR
A continuation of track 6, but I had to turn the input level down because the volume was so high. After a while the bells stop and they sing for a while. It ends quietly.
8. RANDOM TUNINGS.
Arabic, with static.
9. WALKING IN UDAIPUR
Could be anywhere in the third world: a cacophony of motors and horns. Boring.
10. FROGS, JHODPUR
The people talking and the humming of airconditioners is as loud as the frogs. The last minute is better.
11. FROGS, JHODPUR
Frogs with fewer distracting sounds. Not overwhelmingly interesting.

[http://soleilmoon.com/]

DANIEL MENCHE: TINY STRETCHED TIM HOUR

CARL ABRAHAMSSON: A MEGA-GOLEM TRANSMISSION — FOR RADIO BOREDCAST

In a recently begun (2011) project, several artists have agreed to jointly build a "golem" (magical creature) consisting of various pieces of art. This Radio Boredcast program by Carl Abrahamsson is the Mega-Golem's genitals (male variant - other kinds may follow suit). It's based of a text (by Abrahamsson) and music (by Thomas Tibert). As much as the text is thus a seed in this creature's present becoming, it is also about time and space and existence in general.

Carl Abrahamsson (b. Stockholm 1966) is active in writing, photography, publishing and an assortment of cross fertilizing disciplines. [http://www.carlabrahamsson.com]

HOWARD MENGER: AUTHENTIC MUSIC FROM ANOTHER PLANET

RADIO BOREDCAST PRESENTS... MADE BY MACHINES

PLAYLIST

Boston Typewriter Orchestra - Cornelius
The User - Symphony 1 For Dot Matrix Printers
Mistabishi - Printer Jam
Boston Typewriter Orchestra - Pyramid Scheme
The User - Symphony 1 For Dot Matrix Printers
Woody Phillips Toolbox Classics - Beethoven's Fifth
Willem Breuker Kollektief - The Typewriter
Boston Typewriter Orchestra - Customer Confidentiality
The User - Symphony 1 For Dot Matrix Printers
Stafan Mossenmark - Vroom - Concert for 100 HD Motorcycles
The User - Symphony 1 For Dot Matrix Printers
Remko Scha - Throb
Gen Ken Montgomery - Spacebar - 32 Lines
bd594 - Bohemian Rhapsody
Ryoji Ikeda - Back In Black
The User - Symphony 1 For Dot Matrix Printers
Alexander Liebermann - 40 Typewriters
Remko Scha - Kata Dee Do Day Nat A Doh
386DX - California Dreaming
Sesame Street - Yip Yip Computer
The Lazy Anarchists - Manifesto 2002 - Part 1
Boston Typewriter Orchestra - QWERTY Waltz

CLAUDIO CURCIOTTI: SOUNDS FROM NEPAL AND INDIA

Claudio Curciotti travels the world recording sounds that explore the loudness of contemporary world and its relation to the many cultural aspects of different societies.

On "Indica: Sounds from India" (his second release with IH) he explores the loudness produced by human activity, machines and environments on cities such as New Delhi, Mumbay and Varanasi. India is a country Claudio knows very well through his project "Loud India" where he is involved as a phonographer, photographer and video artist capturing images and sounds and presenting them to the world on different formats. Indica features a sound release composed by short fragments and a book with photos taken by Claudio and Eleonora Trani.

'Nepalese: Sounds from Nepal' is a selection from the many many recordings Claudio captured during his trip to Nepal that greatly display the beautiful sonorities of this young country with an ancient cultural legacy and spiritual and religious tradition. The recordings are complemented with a series of photographs by Claudio and Eleonora that provide visual cues to the beautiful sounds captured here. Phonographic works like 'Nepalese: Sounds from Nepal' are always an amazing experience that literally recreates a journey through many places with different sonorities as it establishes a relation in real time between the listener and a passed moment in time that will never repeat itself.

This is the first publication of this kind by IH, where sound acquires a meaning beyond a mere imaginary, as it serves a window between our lives and the lives of other people and the sounds that define their everyday life. [http://impulsivehabitat.com/index.htm]

STEPHEN ERICKSON: RAIN FOREST — ESCAPE TO THE AMAZON

RADIO BOREDCAST PRESENTS... DUB SELECTION

Throughout the month, Radio Boredcast is making selections of themed music that fit the As Slow As Possible subject, either in an obvious or more ethereal way.  Dub music, in the original definition (coming from reggae music) encapsulates slowness and spaciousness. Often the reverb and echo effects are very psychedelic, or there are layers of sound effects that turn it into a journey through sound... a soundscape, a very active experience for the imagination...

OVER THE EDGE: TIME AFTER TIME

Leland Googleburger, on tape from the past where he is on a mission, introduces this show about time travel which revolves around a mix of several tales from fiction, including a couple from ’50s science fiction radio and The Time Traveler by H.G. Wells, mixed up with contemporary scientists discussing today’s view of the possibility and how it might be accomplished, as well as why quantum physics suggests “It’s not as far-fetched as you might think.” (July 20, 2000)

Over the Edge (or, OTE) is a sound collage radio program hosted and produced by Don Joyce. Joyce is also a member of the pioneering sound collage band Negativland, members of which frequently make guest appearances on Over the Edge. A series of Over the Edge episodes have been released under the Negativland name.

[http://www.negativland.com/ote/?p=171]

Founded in 1981, OTE is broadcast live on KPFA in Berkeley, California, every second, third, and fourth Thursday morning from 12am to 3am. On the rare occasion of a month with a fifth Thursday OTE runs an additional two hours, from 12am to 5am. The show is also available on-line, streamed live from [KPFA.org] (where you can also podcast the show), or from [Negativland.com], where many older episodes are available as well.

POREST: PLEBIAN CRAWL — FOR RADIO BOREDCAST

Porest — aka: Mark Gergis is a composer, performer, producer and international audio/visual archivist. Under the name Porest, he has released several solo and group efforts incorporating multi-layered music, pop songs, audio collage, field recordings, and surrealistic radio dramas. Gergis was a co-founder of the experimental Bay Area music and performance collective Mono Pause (1993 -2004) and its offshoot Neung Phak, which performs inspired renditions of music from Southeast Asia. 

PLAYLIST

01. Chinon 
02. Death of a Hero
03. Straight and Strong
04. Low Perch
05. Self Interest International
06. Vertebrae
07. Tumoré
08. Debis
09. Ludent
10. Swirly Gates
11. Two Years
12. Mid-Stride Sensitive Poised
13. Spoke Rom Vong
14. Eternity
15. Drift 

Recorded, performed and published by Mark Gergis between 1993 and 2011.

Track 3 features Erik Gergis & Christopher Davis  
Since 2003, with the Sublime Frequencies label, an ethnographic music and film collective out of Seattle, Washington — and more recently, with his own record label — Sham Palace, Mark has found a platform to aptly share decades of research and countless hours of archived international music, film footage and field recordings acquired during extensive travels in theMiddle East, South East Asia and elsewhere. Mark has managed and produced Syrian singer Omar Souleyman and his group from Northeastern Syria since 2006. In 2011, Mark produced and co-arranged three tracks for the 2011 Bjork/Omar Souleyman collaborative EP, "Crystalline", recorded in Istanbul, Turkey. [http://www.porestsound.net/home/]

[www.sublimefrequencies.com]

TAPEWORM PRESENTS... RANDY GIBSON — FOR RADIO BOREDCAST
The Tapeworm is a cassette-only label. No barcodes. The cassette will never die! Long live the cassette! [http://www.tapeworm.org.uk/]

Analog Apparitions, by Brooklyn-based composer Randy Gibson, is a pair of 30-minute compositions designed specifically to be recorded and released on cassette tape. A student of seminal Minimalist composer La Monte Young, Gibson follows in the tradition of prime harmonic just intonation pioneered by Young in the 1960s. Apparitions of the Four Pillars, the underlying composition on this tape, explores the depth of the harmonic series through standard just-intonation methods and the use of higher prime-harmonic relationships. In the eighteen hours of recordings layered onto the two sides of the cassette you can hear the mechanism of the tape itself, the evolution of improvisations over seven recording sessions, and the purity of sine waves in complex prime-harmonic relationships. 
[http://www.tapeworm.org.uk/randy_gibson_about_analog_apparitions.html]
[http://www.randy-gibson.com]

TONY COULTER — FOR RADIO BORECAST
For me, the word “slowness” brings to mind a mood and state of being outside and above the normal rhythms of life — calmer; more profound; slightly sad, perhaps. For my segment of Radio Boredcast, I’ve simply tried to evoke and maintain this mood as best I can, through the selection and sequencing of pieces, and through three audio collages of my own.

SET ONE:
BASIL KIRCHIN: Once Upon a Time [intro] (197?) “Quantum” (Trunk, 2003)
“BLUE” GENE TYRANNY: A Letter from Home: The Harmonic Branching (1976/2002) “Take Your Time” (Lovely Music, 2003)
ASMUS TIETCHENS: Drei Beisetzungen in Wien “Notturno” (Barooni, 1986)
DAVID BEHRMAN: Canyon “Unforeseen Events” (Experimental Intermedia, 1991)
SLOW ORGAN MIX
SET TWO:
D.D.A.A.: Historique Maracayace [part of] “La Conference Maracayace” (Editions Cactus, 2000)
SLOW TUBA MIX (Tom Heasley + John Morton + Francois Bayle + Limpe Fuchs + Jocelyn Robert + Ingram Marshall)
KAREL GOEYVAERTS: Composition No. 7 with converging and diverging sound levels (1955) “The Serial Works [#1—7] (Megadisc, 1998)
SLOW KOECHLIN MIX
LUC FERRARI: Presque rien no. 2, ainsi continue la nuit dans ma tete multiple, pt. 2 (1977) “Presque Rien” (INA.GRM, 1995)
SET THREE:
TIBOR SZEMZO: Tractatus (1995) “Tractatus” (Leo, 1995)
LUC FERRARI: Unheimlich Schon (1971) “Unheimlich Schon” (Metamkine, 1993) Ilse Lau, voice / 3” CD
Tony Coulter has been doing radio since 1984, principally on WKCR in New York City, where he focused on experimental contemporary classical music, and WFMU in New Jersey, for which he does a freeform show. After a break from radio following a move to the West Coast in 2009, in early 2011 he returned to FMU, doing a show from his house. Tony also blogs for the station, and is an occasional music writer and editor. [http://www.wfmu.org/playlists/tc]

DANIELA CASCELLA: 31 DAYS, SLOW AND STILL

31 DAYS READING LE PONT MIRABEAU BY GUILLAUME APOLLINAIRE AT 8.30AM — FOR RADIO BOREDCAST

Le pont Mirabeau is a poem by Guillaume Apollinaire, published in his 1913 collection Alcools. In response to the theme and the structure of As Slow As Possible/Radio Boredcast, I chose to record myself reading Le pont Mirabeau at 8.30 in the morning for 31 days, anticipating and mirroring the duration of the broadcast in a different place and at a different time.

I chose this poem because of its slow flowing against its slowing into stillness — the flow of water, time and words in the stanzas against the circularity of time in the refrain. The adjective ‘slow’ appears still in the third stanza, the same one that contains ‘love’, ‘hope’, ‘violent’. The adjective ‘still’ appears slow in the refrain, as an impossibility. In the original French poem, ‘slow’ rhymes with ‘violent’ and ‘still I stay’ with ‘hours’.

The lack of punctuation throughout the poem calls not only for a flow of words, but also for different rhythms and meanings arising out of each reading. The readings always took place in my office, sometimes as dedicated recordings, sometimes while I was preparing to go out, sometimes while I was reading the paper or checking the news online. I learned the poem by heart, so sometimes the recordings mirror my small hesitations and gaps in recalling the verses. An old phonograph recording of Apollinaire reading the poem (from the Archives de Parole, Collection Phonothèque Nationale - Bibliothèque Nationale, Paris) supported some of the readings.

Daniela Cascella is a writer and curator based in London since 2009. Her research is focused on sound and on the way it seeps into other formats, most of all text. Her most recent projects explore and employ fictional tropes in writing criticism and descriptions of sound in fiction. She has recently finished writing her third book, En abÎme: a narrative across listening, reading and writing-as-landscape, as part of her research in the MFA Art Writing at Goldsmiths College that she completed in 2011. http://[www.danielacascella.com]

RADIO BOREDCAST PRESENTS... ERIK SATIE

OTHER MINDS: SPEAKING OF MUSIC AT THE EXPLORATORIUM IN 1986 — MORTON FELDMAN

Morton Feldman interviewed by Charles Amirkhanian at the Exploratorium's Speaking of Music Series in San Francisco, January 30, 1986. Charles Amirkhanian interviews Morton Feldman and asks right at the top: Is your music Hermetic? The answers take us on a whirlwind tour of this composers opinions, philosophy, criticisms, recollections and observations. There are excerpts from his Piano and String Quartet as well as his Violin Concerto. Feldman indicates that his compositions, which are usually lengthy, can be compared to the novels of Proust or drinking a fine wine: one to be sipped rather than gulped. Don’t give up listening until you find out why Fred Astaire danced so well, or why Beethoven wrote his C-sharp minor String Quartet: Feldman provides the answers! [http://www.archive.org/details/MFeldmanSOM 1/][http://radiom.org]

PHANTOM CIRCUIT: CHARLEMAGNE PALESTINE

Featuring an interview with Charlemagne Palestine on the occasion of his performance of a new work for carillon in Bournville, Birmingham (UK) on 26th June 2010 following its premiere at AV Festival 10. We also speak to two key people behind the event, Nigel Prince of the [Ikon] gallery and Rebecca Shatwell of [AV Festival]. Thanks to Robert Latham for providing excerpts from his official recording of the event. “I made death into a sunny picnic!” [http://phantomcircuit.com/2010/07/15/phantom-circuit-42/]

OTHER MINDS: ODE TO GRAVITY — CONLON NANCARROW

Charles Amirkhanian hosts this KPFA Ode To Gravity Series on composer Conlon Nancarrow. Program includes interviews with Nancarrow from 1977 in Mexico City and New York City. Pieces as they appear in order in this program include: Study No 7, Study No 25, Study No 3a (1949), String Quartet (1942), Study No 12, Study No 35 (excerpt), Study No 27, Study No 21, Study No 40b, Piece for Tape, Study No 49, and Study No 20. This program was first broadcast on April 30, 1987. [http://radiom.org]

NICOLAS COLLINS: AS SLOW AS POSSIBLE — FOR RADIO BOREDCAST

I’ve always held that slowing things down was one of the fundamental tactics in experimental music (in fact, in my book, Handmade Electronic Music — The Art of Hardware Hacking, I pompously enshrine “Slow it down, a lot” as the “third law of the avant-garde.)  It’s a weakness of mine, and one that I’m sure has cost me many a grant — an old friend of mine, having served on an arts council panel that had just turned me down, admitted, “Nic, you don’t make ‘panel-friendly music’ — it takes too long to get going.”  My formative years were spent immersed in “minimalist” music under the tutelage of Alvin Lucier.  I’ve always thought the first act of music making was careful listening — I just don’t listen fast.  After LaMonte Young, Glass’s “Music In 12 Parts”, and a lot of Cage’s music my offerings strike me as pretty middle of the curve, but I guess others think otherwise.

What follows are a number of recordings of mine that depend upon either a stretching out and suspending of otherwise fleeting sound material, or just an extended period of relative unchanged to focus one’s attention.

Pea Soup (1974/2002-11)
Audio file: [http://www.nicolascollins.com/peasouptracks.htm]Description: [http://www.nicolascollins.com/aboutpeasoup.htm][http://www.nicolascollins.com/peasouptracks.htm]A self-stabilizing feedback network creates an “architectural raga” out of site-specific room resonance.
Tobabo Fonio and It Was A Dark And Stormy Night. From “It Was A Dark And Stormy Night” (1992)
Audio files & liner notes: [http://www.nicolascollins.com/darkandstormytracks.htm]Essay on weird trombone: [http://www.nicolascollins.com/texts/TrombonePropelledElectronics.pdf]In Tobabo Fonio a homemade digital signal processor — controlled from and playing back through a trombone — suspends and draws out fragments of Cusqueña brass band music.  It Was A Dark And Stormy Night is an even more drawn out re-orchestration and extension of Tobabo Fonio, for vocalists and mixed ensemble.
Real Electronic Music (1987)
Audio file: [http://www.nicolascollins.com/otherrecs.htm]Another work for my trombone-propelled electronics.  Here the instrument is used to draw out signals from a scanning radio, similar to that in an automobile, but hacked so that it sits on each station for less than a second before scanning up to the next — a sort of an “aetherial drum machine”.
Baby, It’s You. With Peter Cusack, bouzouki
Audio file: [http://www.nicolascollins.com/otherrecs.htm]Similar trombone-propelled electronics extension of the Bacharach/Dixon/David song, as recorded by the Shirelles.
Still Lives and Still (After) Lives. From “Sound Without Picture” CD (1999)
Audio files & liner notes: [http://www.nicolascollins.com/soundwithoutpicturetracks.htm]Essay on history of hacked CDs: [http://www.nicolascollins.com/texts/cdhacking.pdf]In Still Lives a CD player is hacked to enable a drawing out of 22 seconds of early Baroque music to almost 6 minutes, suspending the counterpoint into rhythmic harmonic loops, with live trumpet and voice above.  Still (After) Lives is an arrangement of the same musical material for a purely acoustic chamber ensemble.
Broken Choir (1997). Performed by Zeitkratzer ensemble
Audio file: [http://www.nicolascollins.com/otherrecs.htm]Another work for hacked CD players drawing out 2 recordings of early music, with ensemble interplay.
Sonnet 40 (1998). Axel Dörner, trumpet.
Audio file: [http://www.nicolascollins.com/otherrecs.htm]Score: [http://www.nicolascollins.com/texts/sonnet40score.pdf]Acoustic trumpet “reads” a Shakespeare Sonnet — at tempo, drawn out, and bebop speed.
Prattle (2011)
Audio files & text: [http://www.nicolascollins.com/prattle.htm]This is almost the opposite of the rubric: the first 22 months of my son’s life, tracking the evolution of his speech.  But it sure felt as slow as possible at the time.

KEVIN NUTT: GOSPEL MIX — BRINGING DOWN THE HOLY SPIRIT — FOR RADIO BOREDCAST

Trance inducing repetition is a key component of much African-American worship and song.
In this short mix, I’ve tried to highlight several song styles along with several archetypal songs
that feature this type of fervor raising performance. Inspired by this, I’ve also included several
re-mixes and collages of preachers and chants (of my own making).    
Kevin Nutt hosts Sinner's Crossroads on WFMU and runs CaseQuarter Records. He is Archivist
at the Archive of Alabama Folk Culture in Montgomery, Alabama. [http://www.wfmu.org/playlists/CR]

ZEPELIM: PEOPLE’S CHOICE

This episode of Zepelim presents a sound collage that aims to stir people’s hearts by featuring the most cherished and praised Western popular music.  Inspired by the Chartsweep of the teacher and pop music archivist Hugo Keesing, Zepelim offers a Chartsweep with the 500 Greatest Songs of All Time according to Rolling Stone. This chart was first presented in a special issue of Rolling Stone, issue number 963, published on December 9, 2004. The Beatles are the most-represented musical act and John Lennon is the only artist to place multiple songs in the top 10. This is the chart that radios are made of, and to prove it, Komar and Melamid united with the composer Dave Soldier to determine precisely what people “liked” and “hated” in music. Using a sophisticated experimental design, a sample of 500 American citizens took a survey with items like Favorite and least favorite musical instruments; favorite duration for a musical composition; favorite song subject, etc. The result is [The Most Wanted and Unwanted Music] - an expression of democracy by statistics and the best example of Demographic Art.  Everything the media told you to love and hate is condensed here in less than one hour — be ready for an overload of radio memories and the 99% chance that you will hear the song that made your heart skip a beat.

Carlo Patrao is a 27 year-old native of Coimbra, Portugal.  He attended the University of Coimbra and has been working in radio since 2007, when he became a member of the student-run radio station Rádio Universidade de Coimbra ([RUC]). His education at RUC immersed him in the independent spirit of exclusively author-oriented radio programs free from the pressure of ratings, advertising, and profit-earning. Carlo began his radio career covering several areas of radiophonic activity, ranging from weekly shows featuring pop and folk music to more topical programs presenting cultural events, reviewing books and music, and promoting the work of local artists. In 2008, he created the program Zepelim with his friend Afonso Biscaia in order to explore the diverse possibilities of radiophonic space through the use of field recordings, experimental music, musique concrete, drones, archived sound and live improvisation. Episodes of Zepelim are 60-minute sound collages based on specific themes every month.  The tracklists of sounds featured in each program are annotated in his[ blog]. In addition to his work at the radio, Carlo has a degree in Psychology and works as a therapist in the field of drug addiction. [http://zeppelinruc.wordpress.com/2011/01/13/zepelim-05-01-2011-peoples-choice-music/]

ALVIN LUCIER: I AM SITTING IN A ROOM

MR ROTORVATOR: ROTORVATION TAPE — FOR RADIO BOREDCAST

Mr Rotorvator (real name:Adrian Phillips) studied horticulture in the early 90's and subsequently spent many hours breaking up old ground with the aforementioned machine in preparation for laying out new gardens. On rainy days he would find himself indoors, watching exercise videos or twiddling with his turntables and wondering, would a similar process work on his old record collection? Experimenting with various discs, he found that jamming the stylus at various points would produce interesting new rhythms. "I loved my old vinyl but was a bit bored with it too, what if I could chop up all the best bits from lots of different records and play them all at the same time, it's bound to sound great!" He was, of course, proved wrong but along the way some original sounds have been produced.

ERGO PHIZMIZ SINGS GILBERT AND SULLIVAN: THE MIKADO — FOR RADIO BOREDCAST

Around the age of 11 or 12 I became obsessed with the comic operettas of Gilbert & Sullivan. This fascination lasted around 3 years. There were posters of W.S. Gilbert (the "S" stands for Schwenck, rather spectacularly) and Arthur Sullivan on my bedroom wall. For years the thought of returning to their works "from memory" has been at the back of my mind. My very boring contribution to Radio Boredcast is "acappella" versions of the G & S operettas "HMS Pinafore", "Iolanthe", "The Pirates of Penzance" and "The Mikado". Some of them I know better than others. In the cases where I didn't know the melodies, I made them up or roughly talked through them. I also decided to not use different voices for characters, and to omit stage directions, so we are left with a very boring barrage of Victorian words, tuned and untuned, from my tired, monotone voice.

Ergo Phizmiz is a composer, writer, and multimedia artist. He makes pop, theatre, installations, opera, radio-art, radioplays, sound-collages and performances. He lives in Bridport, UK, and has a headache. He never wants to perform Gilbert & Sullivan again. [http://ergophizmiz.net]

OVER THE EDGE: COMPLEX NUMBERS

Most of the Philip Glass work Einstein on The Beach in various combinations backs up Arthur C. Clarke on fractal geometry and the 9 billion names of God, William Shatner trying to grasp the X-logic of his kids, Steven Hawking and his black holes, X-Minus One’s youngsters discover educational alternative logic toys from the future, and a lot of other numbers about numbers in audio Mandlebrot sets. (April 18, 2002)

Over the Edge (or, OTE) is a sound collage radio program hosted and produced by Don Joyce. Joyce is also a member of the pioneering sound collage band Negativland, members of which frequently make guest appearances on Over the Edge. A series of Over the Edge episodes have been released under the Negativland name. [http://www.negativland.com/ote/?p=219]

Founded in 1981, OTE is broadcast live on KPFA in Berkeley, California, every second, third, and fourth Thursday morning from 12am to 3am. On the rare occasion of a month with a fifth Thursday OTE runs an additional two hours, from 12am to 5am. The show is also available on-line, streamed live from KPFA.org (where you can also podcast the show), or from Negativland.com, where many older episodes are available as well.

STEVE REICH: DIFFERENT TRAINS — 1.AMERICA — BEFORE THE WAR

NANCY O GRAHAM: I’LL WILL IT

“I’ll will it, will me a body. Far from the days, the far days, a ray of sunshine and a free bench. No political opinions, have silence, get into silence, into my story in order to get out of it, no. To brew poisons. It’s all I ask. What’s wrong with that?”

—Samuel Beckett, "Texts for Nothing"

From a series based on excerpts from "Texts for Nothing", a collaboration I did with poet Michael Ruby, who "drops" text into his thoughts as he falls asleep, then writes the words thereby "displaced" onto the page.

Nancy Oarneire Graham creates somniloquies, or recorded sleeptalk, by repetitively reading a short text—whether from a children's story, a work of nonfiction, or her own dreams—until she begins to fall half asleep. In the twilight state between waking and sleeping, known as the hypnagogic state, visions, half-formed thoughts, and stray words begin to interrupt those read from the page, opening a window onto this borderland.

Nancy Oarneire Graham's somniloquy-based poems and prose have appeared in print and online publications, including BlazeVOX, Café Irreal, Chronogram, Eratio, Invisible City, New Verse News, Pindeldyboz, Prima Materia, Listening in Dreams (by Carol Ione), and Water Writes (edited by Larry Carr). She has performed somniloquies as part of the Deep Listening Institute's Dream Festival in Kingston, New York. Her chapbook, somniloquies, is available from Pudding House Publications. She lives in New Paltz, New York with her family, Henry Lowengard, Raymond and Ada Graham Lowengard, and Pat Lavender Will, a rescued tabby. [http://www.ngram.net]

DANIELA CASCELLA: 31 DAYS, SLOW AND STILL

31 DAYS READING LE PONT MIRABEAU BY GUILLAUME APOLLINAIRE AT 8.30AM — FOR RADIO BOREDCAST

Le pont Mirabeau is a poem by Guillaume Apollinaire, published in his 1913 collection Alcools. In response to the theme and the structure of As Slow As Possible/Radio Boredcast, I chose to record myself reading Le pont Mirabeau at 8.30 in the morning for 31 days, anticipating and mirroring the duration of the broadcast in a different place and at a different time.

I chose this poem because of its slow flowing against its slowing into stillness — the flow of water, time and words in the stanzas against the circularity of time in the refrain. The adjective ‘slow’ appears still in the third stanza, the same one that contains ‘love’, ‘hope’, ‘violent’. The adjective ‘still’ appears slow in the refrain, as an impossibility. In the original French poem, ‘slow’ rhymes with ‘violent’ and ‘still I stay’ with ‘hours’.

The lack of punctuation throughout the poem calls not only for a flow of words, but also for different rhythms and meanings arising out of each reading. The readings always took place in my office, sometimes as dedicated recordings, sometimes while I was preparing to go out, sometimes while I was reading the paper or checking the news online. I learned the poem by heart, so sometimes the recordings mirror my small hesitations and gaps in recalling the verses. An old phonograph recording of Apollinaire reading the poem (from the Archives de Parole, Collection Phonothèque Nationale - Bibliothèque Nationale, Paris) supported some of the readings.

Daniela Cascella is a writer and curator based in London since 2009. Her research is focused on sound and on the way it seeps into other formats, most of all text. Her most recent projects explore and employ fictional tropes in writing criticism and descriptions of sound in fiction. She has recently finished writing her third book, En abÎme: a narrative across listening, reading and writing-as-landscape, as part of her research in the MFA Art Writing at Goldsmiths College that she completed in 2011. http://[www.danielacascella.com]

NULA PRESENTS... FOR RADIO BOREDCAST

55878 sound from transportation including a day train in thailand, a night train in slovakia, and an automated carwash in the US midwest. nula.cc began in 2009 as a series of filecasts emanating from an online presence. The aim of the project has been left somewhat vague, which serves a twofold purpose: to allow for free experimentation with the understanding that outcomes are necessarily unpredictable; and, to let the online collection and the works it contains speak for themselves as much as possible.

As it turns out, a substantial number of the nula filecasts are audio works (though video and other media also appear in the collection). Many of these audio works are "slow" in the sense that they unfold gradually (if at all) or set an atmospheric tone that runs for an extended time. This, too, serves a dual purpose: it allows for a kind of "deep" listening (if you're into that); and it also allows the work to be used atmospherically as a backdrop to other experiences. I have assembled several sequences, each combining sound from two or three of the filecasts, sometimes substantially altered from the versions that appear at [nula.cc]. Lloyd Dunn, Prague, 2011
[http://nula.cc/]

CLAY PIGEON: THE CORPULANT BRITISHER

Of the many amazing characters featured on The Dusty Show with Clay Pigeon, The Corpulant Britisher certainly knows how to take his time. [http://www.wfmu.org/playlists/CP]

DAVID TOOP: SLOW MUSIC — FOR RADIO BOREDCAST

Slow music is only slow in a relative sense but there is a certain tempo, certainly slower than the norm, that has hypnotised me for more than 40 years. The body feels as if it runs at a certain pace but this is surely just a trick of perception — everything is moving according to different cycles, the most extreme of which contrast the passing now which has already gone with our infinitesimal place in the extendedness of the universe. I listen to this slow music (examples that have sustained me for almost a lifetime) in order to feel adjusted to the pace at which I feel most myself.

David Toop is a composer/musician, author and curator who has worked in many fields of sound art and music, including improvisation, sound installations, field recordings, pop music production, music for television, theatre and dance. He has published five books, including Ocean of Sound, Haunted Weather, and Sinister Resonance: The Mediumship of the Listener. Exhibitions he has curated include Sonic Boom at the Hayward Gallery, London, Playing John Cage at Arnolfini, Bristol, and Blow Up at Flat-Time House, London. Visiting Professor at Leeds College of Music, he is a Senior Research Fellow at London College of Communication. [http://www.davidtoop.com]

JOHN WYNNE: UPCOUNTRY — FOR RADIO BOREDCAST

Sound artist John Wynne has a PhD from Goldsmiths College, University of London. His award-winning work, which is often research-led, is made for museums, galleries and public spaces, as well as for radio: it ranges from massive installations to delicate sculptural works and from architectural sound drawings to flying radios. Long-term research projects have included working with speakers of endangered languages in Africa and Canada and with heart and lung transplant patients in the UK. For 3 years he had his own programme called Upcountry on ResonanceFM in London, where he "invited Tammy Wynette to have tea with Pierre Henry - in a thunderstorm" (Ed Baxter). He is a Research Fellow at the University of the Arts London, and a core member of the sound arts research centre, CRiSAP. [http://www.sensitivebrigade.com/wynne.htm]

OVER THE EDGE: ALL ART RADIO — JOHN CAGE

This one is all John Cage. The entire show consists of a seamless mix of Cage talk, Cage interviews, and Cage performances, intermixed and layered throughout. This most influential composer speaks and speaks and speaks about his music and his composing philosophy, including silence. (August 6, 2010)

Over the Edge (or, OTE) is a sound collage radio program hosted and produced by Don Joyce. Joyce is also a member of the pioneering sound collage band Negativland, members of which frequently make guest appearances on Over the Edge. A series of Over the Edge episodes have been released under the Negativland name. [http://www.negativland.com/ote/?p=1597]

Founded in 1981, OTE is broadcast live on KPFA in Berkeley, California, every second, third, and fourth Thursday morning from 12am to 3am. On the rare occasion of a month with a fifth Thursday OTE runs an additional two hours, from 12am to 5am. The show is also available on-line, streamed live from KPFA.org (where you can also podcast the show), or from Negativland.com, where many older episodes are available as well.

DO OR DIY WITH PEOPLE LIKE US: BLATHER — PART 1 — FOR RADIO BOREDCAST

Blather is a 3 part series made specially for Radio Boredcast, taking us on a journey through all the kinds of sounds that the mouth makes, whether that be for artistic, comedy, practical, mind-altering, religious or work reasons. 

DO or DIY is a freeform sound art radio show broadcast weekly by Vicki Bennett (People Like Us) on WFMU. The philosophy behind the show is simple. That within the realms of avant-garde and experimental sound art the goalposts defining "accessible" and "inaccessible" are constantly moving. As the radar rises and dips, fragments and shards of underground creations unearth, and popular culture and artist resonate, shifting shapes accordingly with one another in reflections of changing spotlights. Each show consists of collages made of sound works from the 20th and 21st century, often layered and looped many times over, resulting in an album type effect on each show. [http://www.wfmu.org/peoplelikeus]

PLAYLIST

1 Korean Creative Music Society - Dongdasong from Various Artists: Into the Light II (MCST)
2 Monks of Tashicho Dzong, Thimphu; Nuns of Punakha Dzong (Bhutan) - Chakchen Sondep
(Petition To Chakchen) from Various Artists (recorded by John Levy): Tibetan Buddhist Rites
 from the Monasteries of Bhutan (Lyrichord)
3 Huun Huur Tu and Carmen Rizzo - Tuvan Prayer from Eternal (Six Degrees)
4 Wulu Bunun singers and David Darling — Pasibutbut from Mudanin Kata (World Music Network)
5 Sainkho Namtchylak - Last Christmas from Various Artists (edited By Morgan Fischer) -
 Miniatures II
6 Bulgarian Voices - Angelite & Huun-Huur-Tu - Fly, Fly My Sadness from Fly, Fly My Sadness
(Shanachie)
7 Yerevan Women's Choir of Armenia - Surb, Surb from Yerevan Women's Choir of Armenia (MEG)
8 Rustavi Choir (Georgia) - Kakhuri Nana from World Network, Vol. 2: Georgia [Georgian
Polyphony] (Network Meridien)
9 Alanna O'Kelly - One Breath from Various Artists: Lament (Real World)
10 Sheila Chandra & Ganges Orcestra - Not Waving, Droning from EEP 2 (Indipop)
11 Yungchen Lhamo - Fade Way from Ama (Real World)
12 Mari Boine - Ahccai (To My Father) from In the Hand of the Night (Universal)
13 Sussan Deyhim - Beshno Az Ney (Windfall) from City of Leaves (Venus Rising)
14 Azam Ali - Neni Desem from From Night To The Edge Of Day (Six Degrees)
15 Loga Ramin Torkian - Avaaz from Mehraab (Six Degrees)

THE LONG NOW FOUNDATION: J. STEPHEN LANSING — A THOUSAND YEARS IN BALI

Stephen Lansing

“Perfect Order: A Thousand Years in Bali”

Anthropologist/ecologist Stephen Lansing tells a gorgeous tale of how spiritual practices in Bali have finessed over 1,000 years the most nuanced and productive agricultural system in the world. Cutting edge complexity theory spells out how the highly complex, highly adaptive system emerged. [http://longnow.org/seminars/02006/feb/13/perfect-order-a-thousand-years-in-bali/]

Courtesy of the Long Now Foundation. [http://longnow.org/]

PSEU BRAUN AND ALEX ORLOV: MANENS IN LIMBO — FOR RADIO BOREDCAST

Dear Listener, We have all been here, nudged (ever so gently) over the threshold of rationality into the roiling ocean of futility where seconds entrap like amber. An appointment with Social Services, fifth-grade algebra class, a delayed flight, afternoons in the office cubicle — these are all manifestations of feebleness in our structured reality, a glimpse into the abyss of time. It is in these moments, as sensorial mummification sets in, when we have an opportunity to stare down this peculiar black hole. Bon voyage, Pseu Braun and Alex Orlov

Pseu Braun has hosted a radio show on WFMU for 20 years and has participated in a few noisy endeavors for a decade longer than that. She spent 16 years of her life as a phone company employee. Alex Orlov worked at the phone company for 12 years prior to his current job as an office efficiencies specialist at the Ministry of Blank Stares. He enjoys watching outdoor sports on TV and having the occasional American beer on the weekends. Playlists for Pseu Braun's radio show - [http://www.wfmu.org/playlists/HK]

 

[TOP]

OVER THE EDGE: RIDING RAILROADS

This is five hours of trains, from the building of the transcontinental railroad through the Old West one-and-a-half centuries ago, laced with sounds and dialog from “Once Upon A Time In The West,” to Robert Bloch’s mid-20th-century tale of the Hellbound Train and the hobo jungles of the depression, to Disneyland’s enshrinement of the railroad as toy transportation. You’ve seen all those sound effects discs with the sounds of trains? Well finally, here they all are, from steam to diesel and high speed stereo passes that will blow you right over. America has produced many songs about riding railroads and we have some of those too. And in the end, the whole thing arrives right on time. (January 29, 2004).

Over the Edge (or, OTE) is a sound collage radio program hosted and produced by Don Joyce. Joyce is also a member of the pioneering sound collage band Negativland, members of which frequently make guest appearances on Over the Edge. A series of Over the Edge episodes have been released under the Negativland name. [http://www.negativland.com/ote/?p=944]

Founded in 1981, OTE is broadcast live on KPFA in Berkeley, California, every second, third, and fourth Thursday morning from 12am to 3am. On the rare occasion of a month with a fifth Thursday OTE runs an additional two hours, from 12am to 5am. The show is also available on-line, streamed live from KPFA.org (where you can also podcast the show), or from [Negativland.com], where many older episodes are available as well.

OLD SHIPPING FORECAST

JOE CARTER: HARBOUR SYMPHONY

From Harbour Symphony - Music for Ship's Horns

CHRIS WATSON: SUKAU — PART 3 — FOR RADIO BOREDCAST

Over a period of 5 days whilst in Borneo, I went out into the jungle before sunrise and set up a stereo recording system and left it running - something I never usually do. The results are really good and I have a collection of sunrise tracks in the Sukau rainforest of Sabah in Borneo over successive mornings with a range of bird and other animal sounds as well as the  characteristic sounds of tropical rainforest; that is huge amounts of humidity and moisture slowly percolating down from the canopy 40m overhead.

Chris Watson is one of the world's leading recorders of wildlife and natural phenomena. In 1971 he was a founding member of the influential Sheffield-based experimental music group Cabaret Voltaire. His sound recording career began in 1981 when he joined Tyne Tees Television. Since then he has developed a particular and passionate interest in recording the wildlife sounds of animals, habitats and atmospheres from around the world. His television work includes Bill Oddie Back in the USA, Springwatch, Autumnwatch and The One Show. http://[www.chriswatson.net]

VENERABLE MAHINDA: GUIDED MEDITATION ON METTA AND MINDFULNESS OF BREATHING

Born in Malaysia, Venerable Mahinda, was ordained as a Buddhist monk in the Theravada tradition 20 years ago under the tutelage of Ven. Dr. K. Sri Dhammananda. He undertook Buddhist studies and training in Sri Lanka (1977-1982) and practice Buddhist meditation under several masters in Sri Lanka, India, Myanmar and Thailand.

Guided Meditation on Metta and Mind
Dhamma Talk - The Practice and Benefits of Metta
Metta Sutta in Pali and English
Venerable Mahinda is currently the Abbot of[ Aloka Meditation Centre], NSW, Australia. He has given lectures and seminars on Buddhism, meditation and its application in daily lives at many high schools, universities and community organisations. His attendance at international conferences and interfaith dialogues have taken him to more than 30 countries.

[http://www.dhammaweb.net/mahinda.html][http://www.justbegood.net/Downloads.htm]More Buddhist audio at [http://freebuddhistaudio.com]

RADIO BOREDCAST PRESENTS... DUB SELECTION

Throughout the month, Radio Boredcast is making selections of themed music that fit the As Slow As Possible subject, either in an obvious or more ethereal way.  Dub music, in the original definition (coming from reggae music) encapsulates slowness and spaciousness. Often the reverb and echo effects are very psychedelic, or there are layers of sound effects that turn it into a journey through sound... a soundscape, a very active experience for the imagination...

DANIELA CASCELLA: 31 DAYS, SLOW AND STILL

31 DAYS READING LE PONT MIRABEAU BY GUILLAUME APOLLINAIRE AT 8.30AM — FOR RADIO BOREDCAST

Le pont Mirabeau is a poem by Guillaume Apollinaire, published in his 1913 collection Alcools. In response to the theme and the structure of As Slow As Possible/Radio Boredcast, I chose to record myself reading Le pont Mirabeau at 8.30 in the morning for 31 days, anticipating and mirroring the duration of the broadcast in a different place and at a different time.

I chose this poem because of its slow flowing against its slowing into stillness — the flow of water, time and words in the stanzas against the circularity of time in the refrain. The adjective ‘slow’ appears still in the third stanza, the same one that contains ‘love’, ‘hope’, ‘violent’. The adjective ‘still’ appears slow in the refrain, as an impossibility. In the original French poem, ‘slow’ rhymes with ‘violent’ and ‘still I stay’ with ‘hours’.

The lack of punctuation throughout the poem calls not only for a flow of words, but also for different rhythms and meanings arising out of each reading. The readings always took place in my office, sometimes as dedicated recordings, sometimes while I was preparing to go out, sometimes while I was reading the paper or checking the news online. I learned the poem by heart, so sometimes the recordings mirror my small hesitations and gaps in recalling the verses. An old phonograph recording of Apollinaire reading the poem (from the Archives de Parole, Collection Phonothèque Nationale - Bibliothèque Nationale, Paris) supported some of the readings.

Daniela Cascella is a writer and curator based in London since 2009. Her research is focused on sound and on the way it seeps into other formats, most of all text. Her most recent projects explore and employ fictional tropes in writing criticism and descriptions of sound in fiction. She has recently finished writing her third book, En abÎme: a narrative across listening, reading and writing-as-landscape, as part of her research in the MFA Art Writing at Goldsmiths College that she completed in 2011. http://[www.danielacascella.com]

QUIET AMERICAN: VIETNAM

Vietnam (1998). Field recordings made in Vietnam.

[http://www.quietamerican.org/field_vietnam.html]

KENNETH KIRSCHNER: MARCH 12, 1997

[http://www.kennethkirschner.com/]

JOHN CAGE AND MORTON FELDMAN IN CONVERSATION: PART 2

At WBAI, NYC (1967)

OLD SHIPPING FORECAST

RADIO BOREDCAST PRESENTS... SOUNDS FROM THE ETHER

Throughout the month, Radio Boredcast is making selections of themed music that fit the As Slow As Possible subject, either in an obvious or more ethereal way.  Sounds from the Ether should be taken both literally and symbolically in that we are featuring both radio recordings of "the ether" and also interviews with "the other world", and also using unidentified recordings and music with an other-worldly atmosphere.

Radio Jakarta #2 - Unknown Artist - Sublime Frequencies
Interval Signal (9/11/01) - Voice of Turkey
Mary (Wax Cylinder) - Paul DeMarinis
Ney Music from Azerbaijan [9/11/01] - [Station Unknown]
Track 11 - Art After Death Vol. 2
Track 12 - Art After Death Vol. 2
Track 13 - Art After Death Vol. 2
Track 14 - Art After Death Vol. 2
Track 15 - Art After Death Vol. 2
Track 16 - Art After Death Vol. 2
Track 17 - Art After Death Vol. 2
Track 18 - Art After Death Vol. 2
Track 19 - Art After Death Vol. 2
Track 20 - Art After Death Vol. 2
Reeds and Chants: 7/9/2005, 15505 kHz (2010 UTC) - Radio Kuwait
The Buzzer - The Conet Project
Hank Song - 8/8/2005, 9985 kHz (0016 UTC) - Family Radio Int'l
M3B - The Conet Project
Yawriats Ot Nevaeh - Del Nileppez/Thomas Dimuzio
Piano Etude I (Alpha) - David Rosenboom         

THE ARTANGEL LONGPLAYER CONVERSATION 2005

With Laurie Anderson and Doris Lessing:
Thursday 26 May 2005, the Royal Institution, London.“The first Conversation, in association with the Royal Institution, brings together the imagination and experience of multi-media artist Laurie Anderson and the writer and novelist Doris Lessing to discuss the art and science of keeping time and to consider long-term thoughts and strategies. Is time running out? And what do we mean by timelessness?” [http://longplayer.org/what/whatelse/conversations.php]

JEM FINER: LONGPLAYER EXCERPT — FOR RADIO BOREDCAST

Jem Finer has made Radio Boredcast four 6-hour recordings of Longplayer to broadcast this month. Longplayer is a one thousand year long musical composition. It began playing at midnight on the 31st of December 1999, and will continue to play without repetition until the last moment of 2999, at which point it will complete its cycle and begin again. Conceived and composed by Jem Finer, it was originally produced as an Artangel commission, and is now in the care of the Longplayer Trust.

Longplayer can be heard in the lighthouse at Trinity Buoy Wharf, London, where it has been playing since it began. It can also be heard at several other [listening posts] around the world, and globally via a live stream on the Internet. Longplayer is composed for singing bowls — an ancient type of standing bell — which can be played by both humans and machines, and whose resonances can be very accurately reproduced in recorded form. It is designed to be adaptable to unforeseeable changes in its technological and social environments, and to endure in the long-term as a self-sustaining institution. [http://longplayer.org/]

Jem Finer is a UK-based artist, musician and composer. Since studying computer science in the 1970s, he has worked in a variety of fields, including photography, film, experimental and popular music and installation. Among his other works is [Score For a Hole In the Ground] (2005), a permanent, self-sustaining musical installation in a forest in Kent which relies only on gravity and the elements to be audible. He is currently working on a number of new projects continuing his interest in long-term sustainability and the reconfiguring of older technologies.

JOHN CAGE: SPEAKS TO RICHARD KOSTELANETZ

ANDREW SHARPLEY: RED HERRING — FOR RADIO BOREDCAST

A few years ago I discovered a backwater of the internet dedicated to the study of fish communication. A group of academics have, for the past forty or more years, dedicated their professional lives to understanding how fish communicate, and to classifying their language by sound types. To date they understand little. This broadcast presents some digitally manipulated variations on these recordings, mainly cod. Those who are further interested should consult Rodney Rowntree's website at: [http://www.fishecology.org/soniferous/soniferous.htm]

Andrew Sharpley is perhaps best known as 1/4 then 1/2 of UK sampling unit Stock Hausen and Walkman, formed in 1991, they achieved what they had been working towards in 2001 by splitting up. Relocating to France, Andrew then spent the next ten years undertaking commissions, or playing in bands, from animation festivals to jazz festivals to arts festivals in champagne cellars, by way of wi-fi broadcasts in cars and too many hours spent in vans. His return to the UK in 2011 found him back where he started, and more productive for it. He presents these two broadcasts," slow" and " red herring", as evidence, although for what, is as yet unclear.

ERIK BUNGER PRESENTS... FOR RADIO BOREDCAST
The three pieces I chose all deal with slowness as way to focus, to open your ears and let another voice or another world enter into your body. The first time I was out-of-my-mind drunk in my early teens a friend of mine played me the song “Heroin” with The Velvet Underground and ever since then that song has manifested the promise of another world inside my head. I created “Variations on a Theme by Lou Reed” as a way to slowly, and with my eyes wide open, approach that white light first appearing many years ago in my delirious, adolescent brain. “Everyone Laughed When I Sat Down at the Piano” is a piece of authentic spirit possession. Sam Ahsley invites the long gone voice of a dead gold digger to enter his body and to use his tongue to relate a series of events taking place during the Californian Gold Rush. WHAT?? by Swedish maestro Folke Rabe is the forgotten masterpiece of the Swedish minimalist tradition that never was. Slowly, methodically one overtone is exchanged for another, opening your ears to every detail until finally a single piano rings as an orgy in orchestral excess.

1. Variations on a Theme by Lou Reed - Erik Bünger
[http://www.erikbunger.com/assets/var_on_reed.mp3]
[http://www.erikbunger.com/assets/var_on_reed.mp3]

2. Everyone Laughed When I Sat Down at the Piano - Sam Ashley
[http://www.erikbunger.com/assets/everyone_laughed.aif]
[http://www.erikbunger.com/assets/everyone_laughed.aif]

3. WHAT?? - Folke Rabe

Erik Bünger is a Swedish artist, performer, composer and writer living in Berlin. His works focus on philosophical questions in regards to music and the human voice. Music is never treated as something pure, absolute or abstract but on the contrary, as a parasite feasting on our collective unconscious.
[http://erikbunger.com]

JOEL EATON: EEG — FOR RADIO BOREDCAST

I do this, that, and the other.

I currently work as a [Technical Advisor] in Sound Resources for [JISC Digital Media], in Bristol. I specialise in the realms of social media, media production and digitisation, digital media and copyright. I am currently reading for a PhD at ICCMR, Plymouth, where I am developing a [Brain-Computer Music Interface].

Aside from [making music ]I like to build gestural control devices for music, produce binaural sound recordings, and build software patches for my live performances. I'm currently developing iPad apps for interactive performance tools, and I'm investigating how brain-waves can be utilised for expressive performance control.  [http://joeleaton.co.uk/]

[TOP]

ANNA RAMOS AND ROC JIMENEZ DE CISNEROS — FOUR CONSECUTIVE STEPS TOWARDS MIDDLE WORLD — PART 2 — FOR RADIO BOREDCAST

These ultrasonic recordings of Vespertilionidae bat echolocation calls were made in the summer of 2011 using a CDB101R3 heterodyne stereo bat detector and a Tascam DR-100 digital recorder. The recordings were made in Parc de la Ciutadella in Barcelona.

Many overlapping pulse trains indicate groups of low flying bats feeding on insects — often just a few centimetres above head height. Those sections in which pulses do not overlap feature isolated bats flying in circles of about 15 meters in diameter. The frequency range of calls lies approximately between 35-60 KHz, and in some sections it is possible to hear other sound sources such as crickets, footsteps, people talking, or the fountain where the bats catch their prey.

The four shows in this series are based on the same recording, slowed down in each successive show in an attempt to reflect on the relativity of the concept of slowness and to try and transcend the anthropomorphic take on this subject. Middle World, a term coined by Richard Dawkins, is used to describe the realm between the microscopic world of quarks and atoms and the larger view of the universe at the galactic and universal level. This term is used as an explanation of oddity at both extreme levels of existence.[ http://alkualkualkualkualkualkualkualkualkualku.org]

PRESLAV LITERARY SCHOOL — FOR RADIO BOREDCAST

Preslav Literary School presents sonic representations of slowness in the form of recent recordings involving slowed, distorted and disrupted analogue tape recordings from unknown times long past. Preslav Literary School has released records on Corvo, Full of Nothing, NO-FI/Tusk, Razzle Dazzle and Elephant & Castles, sharing stages and bills in the process with Aki Onda, Machinefabriek, Vibracathedral Orchestra, Astral Social Club, Gudrun Gut & AGF, Anton Bruhin, Leif Elggren and Sudden Infant.

[http://www.preslavliteraryschool.co.uk]

1) Unto The Voice
2) Mirth In Funeral
3) This Good Lesson Keep
4) Dirge In Marriage
5) Exeunt
6) Francis Servain Mirkovic
7) Yvan Deroy
8) Alamut

DO OR DIY WITH PEOPLE LIKE US: BROKEN MUSIC — PART 1 — FOR RADIO BOREDCAST

Broken Music is a 2 part series made specially for Radio Boredcast.  Broken Music could mean a number of things - manipulation of the sound source (eg breaking or scratching a record or CD), cutting up or rearranging of the material - conceptually or literally, or treating or bending of the content so far that it becomes something else entirely.

DO or DIY is a freeform sound art radio show broadcast weekly by Vicki Bennett (People Like Us) on WFMU. The philosophy behind the show is simple. That within the realms of avant-garde and experimental sound art the goalposts defining "accessible" and "inaccessible" are constantly moving. As the radar rises and dips, fragments and shards of underground creations unearth, and popular culture and artist resonate, shifting shapes accordingly with one another in reflections of changing spotlights. Each show consists of collages made of sound works from the 20th and 21st century, often layered and looped many times over, resulting in an album type effect on each show. [http://www.wfmu.org/peoplelikeus]

PLAYLIST

Gwilly Edmondez - Good Music Is Where You Find It
Anthony Balch - The Cut Up
Noah Creshevsky - Variations
Anton Bruhin - InOut
Brian Joseph Davis - 1913
Nicolas Collins Broken Light I
Phil Minton & Roger Turner - Supposedly
Martin Tétrault and Otomo Yoshihide - Cartoon
David Shea - Screwy Squirrel
Anon (Java 1923) - Tedhak Saking (Central Javanese)
Oval - Cross Selling
Lesser - Obligatory Glitch Worship
YOUR DJ SPEAKS - Anon (Java 1923) - Tedhak Saking (Central Javanese)
Janek Schaefer - Morning 29_03_95
Gwilly Edmondez - All Over The World
Anton Bruhin - InOut
Brian Joseph Davis - 2LiveCrew (from Banned Albums Burn)
Christian Marclay - Footsteps
YOUR DJ SPEAKS - Christian Marclay - Footsteps
Milan Knizak - Composition No.2
V/VM - Lady In Red
Rank Sinatra - Take On Me
Noah Creshevsky - Jacob's Ladder
Napster Nugget - Death Metal Warmup

RADIO BOREDCAST PRESENTS... SACRED STEEL HEART

Throughout the month, Radio Boredcast is making selections of themed music that fit the As Slow As Possible subject, either in an obvious or more ethereal way. Sacred Steel Heart is a collection of devotional and pedal steel guitar music, sometimes both at once, which in different ways feel elevational or psychedelic or sometimes employ compositional structures that are cyclical or trancelike.

DAVID SUISMAN: THE SLOWNESS OF MADAME DE T — FOR RADIO BOREDCAST

On the face of it, “The Slowness of Madame de T.” is a tale of seduction—a seduction all the more intense for being drawn out, “in all its splendid slowness.” On closer inspection, it is something more: a rumination on memory, on the intimate relationship between remembering and forgetting, slowness and haste. We keep some experiences with us, others are lost; the question here is not why this is so, but how. The text come Milan Kunera’s novel Slowness. Accompanying it are sounds by David Toop, Nino Rota, Helen Gurley Brown, Karen Dalton, Henry Flynt, Frederic Rzewski, Gasoline Stew and the Dump, The Stooges, Kinski, The Mebusas, Delia Derbyshire, Dudley Simpson, Brian Hodgson & David Vorhaus, Bernard Purdie, Julie London, Wizz Jones, Janet Cardiff, Åke Sandin, Slap Happy Humphrey, Michael Harrison, Blossom Dearie, Henry Jacobs, Scott Tuma, and Jacques Tati.

David Suisman is the author of Selling Sounds: The Commercial Revolution in American Music and associate editor of the Journal of Popular Music Studies. For several years, he hosted a freeform radio show called the Inner Ear Detour on WFMU, where he still occasionally DJs. He teaches history at the University of Delaware and lives in Philadelphia. [http://www.wfmu.org/playlists/ie]

OTHER MINDS: ODE TO GRAVITY — STEN HANSON 

Charles Amirkhanian introduces the work of Sten Hanson, a writer turned sound poet who has been one of the most active composers of the Fylkingen group in Stockholm. The program includes an interview recorded on April 12, 1972 in Sweden, in which Hanson describes how he puts together his works and describes the computer studio for electronic music in Stockholm where he creates his sound poetry. Also heard are some of Hanson’s amusing voice pieces, which are both political and humorous. (from KPFA Folio) (July 2, 1975)

[www.archive.org/details/OTG_1975_07_02][http://radiom.org]

CHRIS WATSON: LE CRONE 

From Cima Verde

ANDREW SHARPLEY: RED HERRING — FOR RADIO BOREDCAST 

A few years ago I discovered a backwater of the internet dedicated to the study of fish communication. A group of academics have, for the past forty or more years, dedicated their professional lives to understanding how fish communicate, and to classifying their language by sound types. This broadcast presents some digitally manipulated variations on these recordings, mainly cod. Those who are further interested should consult Rodney Rowntree's website at [http://www.fishecology.org/soniferous/soniferous.htm]

Andrew Sharpley is perhaps best known as 1/4 then 1/2 of UK sampling unit Stock Hausen and Walkman, formed in 1991, they achieved what they had been working towards in 2001 by splitting up. Relocating to France, Andrew then spent the next ten years undertaking commissions, or playing in bands, from animation festivals to jazz festivals to arts festivals in champagne cellars, by way of wi-fi broadcasts in cars and too many hours spent in vans. His return to the UK in 2O11 found him back where he started, and more productive for it. He presents these two broadcasts," slow" and " red herring", as evidence, although for what, is as yet unclear.

NATURE RECORDINGS: DAWN IN THE VENTANA WILDERNESS 

SANGHARAKSHITA: THE PARABLE OF THE RAIN CLOUD 

This FBA Dharmabyte is the classic reading of the "The Parable of the Rain Cloud" from The White Lotus Sutra. The reading is followed by a thought-provoking and beautiful explanation of this Buddhist teaching by Sangharakshita. More from Sangharakshita at:  

[http://www.freebuddhistaudio.com/browse?s=Sangharakshita]

RADIO BOREDCAST PRESENTS... DUB SELECTION 

Throughout the month, Radio Boredcast is making selections of themed music that fit the As Slow As Possible subject, either in an obvious or more ethereal way.  Dub music, in the original definition (coming from reggae music) encapsulates slowness and spaciousness. Often the reverb and echo effects are very psychedelic, or there are layers of sound effects that turn it into a journey through sound... a soundscape, a very active experience for the imagination...

GORDON MONAHAN: ERRATUM ADDENDUM 

8-channel sound installation for solo piano (continuous playback). 1st exhibition: Tonspur Passage, Museumsquartier, Vienna, October 26, 2008 - January 24, 2009, daily 10 am to 8 pm. This piece is based on Marcel Duchamp’s Erratum Musical, composed in 1913, considered to be the first piece of ‘chance music’, predating John Cage’s chance pieces by some 37 years. The original piece is scored for three voices and consists of three short sequences of single pitches.

I have taken the original score and extracted variations by applying the processes of inversion and retrograde — compositional techniques developed by the Second Viennese School for use in twelve tone composition. This results in several new note sequences, which are then transposed to all possible registers of the piano. These are recorded and then played back in random order, with some random deletions, and later processed into 8-channel audio distribution through a Max/MSP patch.

© Gordon Monahan 2009

[http://www.gordonmonahan.com/pages/Erratum_Addendum_page.html]

DANIELA CASCELLA: 31 DAYS, SLOW AND STILL

31 DAYS READING LE PONT MIRABEAU BY GUILLAUME APOLLINAIRE AT 8.30AM — FOR RADIO BOREDCAST

Le pont Mirabeau is a poem by Guillaume Apollinaire, published in his 1913 collection Alcools. In response to the theme and the structure of As Slow As Possible/Radio Boredcast, I chose to record myself reading Le pont Mirabeau at 8.30 in the morning for 31 days, anticipating and mirroring the duration of the broadcast in a different place and at a different time.

I chose this poem because of its slow flowing against its slowing into stillness — the flow of water, time and words in the stanzas against the circularity of time in the refrain. The adjective ‘slow’ appears still in the third stanza, the same one that contains ‘love’, ‘hope’, ‘violent’. The adjective ‘still’ appears slow in the refrain, as an impossibility. In the original French poem, ‘slow’ rhymes with ‘violent’ and ‘still I stay’ with ‘hours’.

The lack of punctuation throughout the poem calls not only for a flow of words, but also for different rhythms and meanings arising out of each reading. The readings always took place in my office, sometimes as dedicated recordings, sometimes while I was preparing to go out, sometimes while I was reading the paper or checking the news online. I learned the poem by heart, so sometimes the recordings mirror my small hesitations and gaps in recalling the verses. An old phonograph recording of Apollinaire reading the poem (from the Archives de Parole, Collection Phonothèque Nationale - Bibliothèque Nationale, Paris) supported some of the readings.

Daniela Cascella is a writer and curator based in London since 2009. Her research is focused on sound and on the way it seeps into other formats, most of all text. Her most recent projects explore and employ fictional tropes in writing criticism and descriptions of sound in fiction. She has recently finished writing her third book, En abÎme: a narrative across listening, reading and writing-as-landscape, as part of her research in the MFA Art Writing at Goldsmiths College that she completed in 2011. http://[www.danielacascella.com]

MINES

Mines: Ilan Volkov, Ram Gabay, Yael Barolsky

FELIX KUBIN: MOTHER IN THE FRIDGE — FOR RADIO BOREDCAST

A radio play without a script by Felix Kubin. "Mother in the Fridge" is based on a phone conversation between my mother and me. I recorded this call spontaneously in order to take revenge on the many words that I am carrying around with me.

My mother loves to talk and she loves to talk in English. As I knew of the Radio Boredcast project of my friend Vicki Bennett, I suddenly decided to make this a long conversation in English with a lot of twists and little stories and some experiments with my mobile phone. I started to place the phone (=my mother) in all kinds of different sonic environments in order to test the corresponding acoustics and see what it does to the imagination of the listener. This idea led to a playfully improvised radio drama about early reflections on late memories.

Most people who take a call from my mother don't get away with a talk under 40 minutes. That's why this radio play has a duration of 40 minutes. The remaining music of the one hour show contains improvisations by Fritz Ostermayer and me while preparing for a lecture on the Austrian anarchist Herbert Müller-Guttenbrunn in November 2010. (Felix Kubin, Hamburg, December 2011).

Felix Kubin is a composer, radio-playwright, curator and media artist. He began recording and performing experimental electronic pop music at the age of 12. In the 1990s he turned to electroacoustic noise music and formed “Klangkrieg” with Tim Buhre. From 1992-1994 he co-organised artistic political interventions with the Dada-communist Party KED and the “Liedertafel Margot Honecker” singing group, whose notorious actions received wide media coverage. In 1998 Kubin started to produce Futuristic pop music and launched the independent record label “Gagarin Records”. Over the past decade he has performed at eighty international music and media arts festivals including Sonar, Club Transmediale, Mutek, ISEA, Wien Modern and Ars Electronica. Since 2001, Kubin has been writing and producing radio plays for national radio stations WDR, BR, DR, SWF and Vienna’s ORF Kunstradio. [http://www.felixkubin.com]  

LANGUAGE REMOVAL SERVICES: THE MIDDLE EAST PEACE PROCESS — FOR RADIO BOREDCAST

Chris Kubick is an artist, composer and sound designer who works under a variety of pseudonyms, including Language Removal Services, an institute and laboratory founded by one Dr. Raymond Chronic that may or may not exist solely as the website http://[www.languageremoval.com]. Kubick frequently collaborates with Anne Walsh, and together they have created ARCHIVE, whose best-known project, entitled Art After Death consists of interviews with artists who have died conducted through spirit mediums. Together their work has appeared in the 2002 Whitney Biennial and at the Yerba Buena Center for the Arts, San Francisco; the Museum of Contemporary Art, Los Angeles; and the Royal College of Art, London. Kubick has been heard on public radio in the U.S., Canada and Great Britain.

PEOPLE LIKE US: CAGE SILENCED

An edit of John Cage in conversation with Richard Kostelanetz, who has bronchitis and whispered the entire interview. This seemed to be the logical next step. [http://peoplelikeus.org]

IRENE MOON: LET’S TALK SCIENCE — HUMAN EVOLUTION — PART 2 — FOR RADIO BOREDCAST

Irene uses her entomological and scientific background to connect with individuals from the scientific community; discussing their perception of time on topics they are most intimate and familiar with. [http://www.begoniasociety.org ]

Jiri Hulcr - How long did it take for human beings to come into existence? Can we even come close to understanding what "millions of years" really means when standing in line at the bank can feel like forever. Is it possible for humans, in one lifetime, to perceive the process of natural selection and evolution?  Jiri Hulcr is a post-doc at North Carolina State University in Raleigh, North Carolina. [http://www.antmacroecology.org/~ambrosiasymbiosis]

ED PINSENT: JAP MIX — FOR RADIO BOREDCAST

Almost all of these Japanese rock bands come from the late 1990s - early 2000s and were labelled as part of a "psych-garage" movement of some sort; some of them were represented on a compilation called The Night Gallery in Japan, and Chris Moon did much to represent their work on his Last Visible Dog label in America. Unlike their immediate predecessors (the speed-freak psychedelic bands like High Rise, Marble Sheep, White Heaven and others who appeared on the Tokyo Flashback compilations), these bands sang dirge-like songs and had incredibly slow drumming along with their twangy reverbed guitars. As such they seemed to me to have a lot in common with Les Rallizes Denudes, a much earlier band who had formed in 1967 and continued playing until 1996, so I have included here a 1977 song by this band which surfaced on a French bootleg CD set. Tsurubami don't quite fit the theme, being benign psychedelic hippie types and an offshoot project from Acid Mothers Temple.

Much as I love this music, I also find a lot of it incredibly slow and boring to listen to, and often wonder how the musicians managed to maintain the rigid discipline needed to keep each song at the correct pitch of inertness. I think Les Rallizes Denudes excelled at doing this, and although they are held in high regard by many listeners, I find their interminable music mostly miserable and insufferable. I thought it would be interesting to compress as much as possible of these mixed emotions into the required hour-long slot, and aimed to deliver a sublimely tedious listening experience. Each song was selected with that aesthetic in mind, and accordingly the Doodles track was edited slightly to remove the upbeat ending segment to their song.

The nine tracks are played more or less in the following order, but with overlaps; at any one time in the piece there will be at least two simultaneous playbacks. English translations of some titles are supplied in square brackets. 

PLAYLIST

01 Tsurubami, 'Hitsumyou O Gotoshite' (31:30)
From Kaina, US LAST VISIBLE DOG LVD023 CD (2003)
Recorded in 2000 and originally released as a CDR by the same label.
02 LSD-March, '立体ランプ 明日のゴダール' (9:23)
[The Lamp - Tomorrow's Godard]
From Suddenly, Like Flames, US LAST VISIBLE DOG LVD064 CD (2005)
Originally issued as 突然炎のごとく, JAPAN WHITE ELEPHANT
RECORDS WER-001 (2002)
03 Doodles, '砂語り' (6:37)
From The Night Gallery, JAPAN ALCHEMY RECORDS ARCD-147 (2003)
04 LSD-March, '嵐の終わりに' (8:19)
[After The Storm (Alternate Version)]
From Suddenly, Like Flames, op cit.
05 Kousokuya, '移り' (15:06)
[Removal]
From 1st, JAPAN PSF RECORDS PSFD-132 CD (2003)
Recorded between August 1989 and June 1990.
Originally issued as RAY NIGHT MUSIC RNM0001 LP (1990)
06 Chouzu, '祈請' (7:48)
From The Night Gallery, op cit.
07 Les Rallizes Denudes, 'The Last One' (25:24)
From Le 12 Mars 1977 À Tachikawa,
FRANCE OVER LEVEL OVER 001CD (2003)
08 Miminokoto, 'Subeteha' (7:32)
From ライブ [Live] , USA LAST VISIBLE DOG LVD 048 (2003)
09 LSD-March, '悲しみの美少年' (6:48)
From The Night Gallery, op cit.

Ed Pinsent is an artist, writer and broadcaster living in London. He is the creator of The Sound Projector, an annual music magazine which he edits and publishes himself, and a radio show of the same name for Resonance 104.4 FM. [http://www.thesoundprojector.com]
[http://comics.edpinsent.com]

RADIO BOREDCAST PRESENTS... SAFE HARBOURS

Throughout the month, Radio Boredcast is making selections of themed music that fit the As Slow As Possible subject, either in an obvious or more ethereal way. Safe Harbours is a collection of seaside, harbour and watery recordings, with some other atmospheric recordings that just seem too fit in with this.

OTHER MINDS: TURKEY SONG

“Turkey Song” is a form of inter-species music, a joint communication between three human beings and three hundred tom (male) turkeys. The tape that you hear is an edited version of over five hours of tapes recorded at the Willy Bird Turkey Farm in the hills outside of Santa Rosa. The producer of this piece, Jim Nollman, has been experimenting with musical communication with various animals for many years. Besides turkeys, he has found that the bobwhite, the kangaroo rat, hummingbird, and the bullfrog all respond in definite patterns to certain types of human and instrumental sounds. But of all the animals, the most obviously receptive creature to audio stimulus is the turkey. Turkeys respond with a precise rhythmic gobble to any pitch above a certain register. The pitch is relative and is dependent upon the environmental noise already present. It thus becomes possible to devise extremely precise melodic and rhythmic patterns, and by accenting one note of the pattern by its loudness of pitch the turkey will always respond in time. We gather together to ask the lords blessing. A tape piece created for the express purpose of accompanying your Thanksgiving Dinner. Its instrumentation includes wooden and clay flutes improvising with a flock of turkeys. Thanks to Willy Bird Farms in Petaluma. (November 28, 1974)

[http://www.archive.org/details/AM_1974_11_28_c3][http://radiom.org]

CHEESE SNOB WENDY: FAST CHEESE IS FLAVORLESS — RADIO BOREDCAST

Cheese Is Slow

I think about cheese a lot. I wrote down my thoughts and read them slowly into a microphone while I was thinking about how much I like cheese and how happy I am that cheese is slow. I don't like to be rushed. Words are often better when accompanied by music, so I found some songs to help keep the theme going. I didn't really pick any songs specifically about cheese because I thought that would be far too obvious and kind of annoying. 

Cheese Snob Wendy

I live in the United States. I am in my late-30s and I have been working with cheese since I was 21 years old. Within a few days of starting my first cheese job I knew I was in the right place. Learning and eating are two of my favorite things. I've done nearly all there is to do in the cheese profession except make cheese. Most of my experience has been selling cheese, teaching people about cheese, and writing about it. You know those little signs that are stuck into the cheese in the shop's display, with the name of the cheese, how much it costs, and a description of the cheese?  Well, I write those descriptions. I like music, too, but I imagine that goes without saying because what kind of horrible person doesn't like music? [http://www.cheesesnob.com]

CODPASTE WITH PEOPLE LIKE US & ERGO PHIZMIZ — HOOKED ON CLASSICS

Vicki and Ergo revisit the 1970's phenomenon of Hooked On Classics, classical cover versions as well as all things light, orchestral and popular. Features a medley of the best of this fine mulch of classical music with a disco beat, as well as some tangential visits to the world of amateur orchestras. Features Portsmouth Sinfonia, The Swingle Singers, John Oswald and Wendy Carlos, amongst others.

Hooked On Classics - [http://www.wfmu.org/playlists/shows/25406]

[http://www.peoplelikeus.org/codpaste.html]

"Codpaste" was a weekly podcast series in which the two artists People Like Us and Ergo Phizmiz attempted to compose collage music from the very beginning, in a "work in progress" style, attempting to open up the creative process. The theory is that it is rare to see compositions made from the outset, and usually the audience are only invited in once the piece is finished, done and dusted. It could be that new light may be shed on the creation of art if the curtains are opened and the audience are given access to the raw, the imperfect and the wrong as well as the polished and the finished.

[http://www.wfmu.org/playlists/CT]

GIGANTESOUND — FOR RADIO BOREDCAST

GiganteSound is an experimental label specializing in sound collage and the darker side of sampling and electronic music from the San Francisco Bay Area. Started in 2005 by Jared Blum and Dominic Cramp, the two have released music as far reaching as the basement -musique concrete and early synthesis inspired Vulcanus 68, to the deconstructed dubbed -out dankness of Borful Tang, Lord Tang and Qulfus, to the abstract, thrift store-pop rock sample collage stylings of Blanketship, all the way back down to the droney vinyl exploitations of Beaks Plinth...The use of slowed and manipulated sounds has been a foundation to the music of Gigante Sound. This program will feature the slower side of Gigante Sound catalog as well as an exclusive 35 minute set by Beaks Plinth (Jared Blum) created solely from sounds recorded off of the Library Of Congress' Talking Book Record and Tape players which allowed listeners to play back media at slower speeds than commercial players of the day... [http://gigantesound.com][http://koolarrow.com/the-talking-book/]

Bill Gould & Jared Blum - The Talking Book
Beaks Plinth - Forbidden Waters
Blanketship - Easy Slow Flute Harps
Vulcanus 68 - Track 9 & 11
Beaks Plinth & Scott Caligure - Illuminated Blue Balls
Lord Tang - Thang
Qulfus - Sad Clown
Blanketship - I'm Coming Out
Blanketship - The Associate (slow version)
EXCLUSIVE SET FOR RADIO BOREDCAST BY BEAKS PLINTH
Kraftwerk-Computerworld/Pocket Caluclator/Numbers
Clarrisa Pinkola Estes-How to Love a Woman/Unknown Hawaiian LP
The Beatles-Blue Jay Way/Fool on the Hill/Flying
Peter Gabriel-Intruder/Cambodian Folkways/Georgio Moroder-Cat People
Traditional Japanese Koto and Flute/ Unknown Easy Listening LP
John Cage Percussion LP /Aboriginal Traditional Sounds
John Foxx-Plaza/Cantor David Roitman/The Sounds of Laos
Hal Leonard -Walking Bass Tape/Juan Torres-I'll Never Fall in Love Again
Tangerine Dream-Stratosphere/Time Life Music-Sunny
Baja Marimba Band -unknown/Irish Pipe & Tin Whistle Songs
Van Halen -Mean Streets / Sunday Afternoon in the Park
Music behind DJ:
Vangelis Albedo 0.39

RADIO BOREDCAST PRESENTS... BELLS, BOWLS, GONGS AND GAMELAN

Throughout the month, Radio Boredcast is making selections of themed music that fit the As Slow As Possible subject, either in an obvious or more ethereal way.  Bells, Bowls, Gongs and Gamelan is a collection of just that - but from west and east and across genres and timezones.

 

[TOP]

LEIF INGE: 9 BEET STRETCH (excerpt)

9 Beet Stretch is Ludwig van Beethoven's 9th symphony stretched to 24 hours, with no pitch distortions. Executed in various versions with either the Snd or the Common Lisp Music software, both made by Bill Schottstaedt. Sincere thanks to Anders Vinjar, Kjetil Matheussen and Bjarne Kvinnsland at Notam, and Jeff Hunt at Table of the Elements.

Thanks also to all the enthusiasm shown to 9 Beet Stretch. That has really brought the work around and made 9 Beet Stretch into the event it is now. [http://www.læyf.com]

THE LONG NOW FOUNDATION: SIX EASY STEPS TO AVERT THE COLLAPSE OF CIVILISATION — DAVID EAGLEMAN

David Eagleman may be the best combination of scientist and fiction-writer alive. Sum, his collection of afterlife alternatives, made a stunning literary debut last year and now appears in 21 languages. Simultaneously he is a neuroscientist at Baylor College of Medicine, specializing in time perception. In this talk he spells out how to save the world.
[http://longnow.org/seminars/02010/apr/01/six-easy-steps-avert-collapse-civilization/]

Courtesy of the Long Now Foundation. [http://longnow.org/]

THE BEST OF THE NIGHT AIR: ABC RADIO NATIONAL 

[http://www.abc.net.au/radionational/programs/nightair/]

DYLAN NYOUKIS: AN ATHENS SUNDAY MORNING WALK WITH ‘MUSICAL’ INTERLUDES (BASED AROUND SLOWNESS) OR ‘FANTASY HEADPHONES FOR A COUNTRY GOING DOWN THE TUBES

This is a field recording of a lazy slow morning spent wandering around a small district of Athens, Greece. I always am torn when walking about outside between listening to music or just listening to all the sounds around. Usually I go for the latter. I had just done this walk /recording and thought it fitted in nicely with your request for a piece based round slowness. Then I thought I would ask some friends to send me tracks which they thought fitted into the description of Slowness, these I then inserted into the Athens walk - a fake soundtrack for a slow walk. [http://chocolatemonk.co.uk/enter.htm]

Interludes:

Duncan Harrison — YG Inst
Coffee — Pissing Contest
Micro_Penis - Teresa Orlowski
Anla Courtis — Poliestireno Expandido
Dead Labour Process — Listen (Slowly Does It)
Fritz Welch & Duncan Bruce — Upside Down Viking Toilet
Dennis Tyfus — Live
Smack Music 7 — untitled
The Bren't Lewiis Ensemble - Phallagogia Priapi
Pengo — Good Things Don't Come To Those Who Wait

IRENE MOON: LET’S TALK SCIENCE — HUMAN EVOLUTION — PART 2 — FOR RADIO BOREDCAST

Irene uses her entomological and scientific background to connect with individuals from the scientific community; discussing their perception of time on topics they are most intimate and familiar. http://begoniasociety.org

Jiri Hulcr - How long did it take for human beings to come into existence? Can we even come close to understanding what "millions of years" really means when standing in line at the bank can feel like forever. Is it possible for humans, in one lifetime, to perceive the process of natural selection and evolution? Jiri Hulcr is a post-doc at North Carolina State University in Raleigh, North Carolina. [http://www.antmacroecology.org/~ambrosiasymbiosis]

DAVE SOLDIER: BRAINWAVE MUSIC

These collaborations with [Brad Garton] uses brainwaves (EEGs or electroencephlograms) to control music in real time: there are no overdubs. The pieces are either "unconscious music", where one composes without being aware of creating the music , or "prosthetic music" in which you attempt to control your brainwaves (e.g., closing your eyes is a classic way to control alpha waves). [http://davesoldier.com/experimental.html]

[Trio for Brainwaves and Percussion: original version at CUNY, 2008. ] Features Valerie Naranjo (gyil, an African mallet instrument), Barry Olsen (hand drums), Benny Koonyevsky (cajon, a musical box), each triggering brainwaves: this is all in real time with no overdubbing. Part 1: the players move their hands to play the instruments, but don't actually touch them, but the cortical brainwaves trigger the notes.
Part 2: they play their instruments at a range of tempos, and the EEG signals trigger sounds in part depending on their activity.
Part 3: the players try to sync up with Benny's beats from his brainwaves.
Part 4: the players imagine playing, and try to move their hands while sitting on them

Another version, String Quartet #3, "The Essential". [First movement], Fourier Transformations: brainwaves control all of the pitches in the scherzo of Schoenberg's 2nd quartet. [Second movement], Breathe the air of other planets: brainwaves advance through different sections of the same piece. 
Performed and thought by: Mari Kimura, Curtis Stewart, violins, Heve Bronimann, viola, Dave Eggar and Ha-Yang Kim, cello.

[Alpha wave mix] "prosthetic" solo where I try to control samples from my string quartet by producing alpha waves from the back of my cortex: it's like playing the piano with boxing gloves.

[Reading Stephen Colbert] "unconscious" music that I'm producing by reading a page from Colbert's book and listening to what happens when I laugh.

[Duo for sensory and motor cortex] "prosthetic" music where I move my hands or pinch myself and read brainwaves from the side of the cortex

RADIO BOREDCAST PRESENTS... SOUNDS FROM THE ETHER

Throughout the month, Radio Boredcast is making selections of themed music that fit the As Slow As Possible subject, either in an obvious or more ethereal way.  Sounds from the Ether should be taken both literally and symbolically in that we are featuring both radio recordings of "the ether" and also interviews with "the other world", and also using unidentified recordings and music with an other-worldly atmosphere.

Ether - Coil
National Grid-Live Mains Electricity - Disinformation
Track 21 - Art After Death Vol. 2 
Track 22 - Art After Death Vol. 2 
Track 23 - Art After Death Vol. 2 
Track 24 - Art After Death Vol. 2 
Track 25 - Art After Death Vol. 2 
Track 26 - Art After Death Vol. 2 
Track 27 - Art After Death Vol. 2 
Track 28 - Art After Death Vol. 2 
Track 29 - Art After Death Vol. 2
Purr and Fuzz - 7/19/2005 - 15435 kHz (2121 UTC) - Radio Jordan
Web Chat with Andy Warhol - Oliver Laric 
Balafon Music (10/6/03, 4835 kHz, 2335 UTC) - RTV du Mali 
Rondo Alla Turka - Susan Zagon  

DO OR DIY WITH PEOPLE LIKE US: BLATHER — PART 2 — FOR RADIO BOREDCAST

Blather is a 3 part series made specially for Radio Boredcast, taking us on a journey through all the kinds of sounds that the mouth makes, whether that be for artistic, comedy, practical, mind-altering, religious or work reasons. 

DO or DIY is a freeform sound art radio show broadcast weekly by Vicki Bennett (People Like Us) on WFMU. The philosophy behind the show is simple. That within the realms of avant-garde and experimental sound art the goalposts defining "accessible" and "inaccessible" are constantly moving. As the radar rises and dips, fragments and shards of underground creations unearth, and popular culture and artist resonate, shifting shapes accordingly with one another in reflections of changing spotlights. Each show consists of collages made of sound works from the 20th and 21st century, often layered and looped many times over, resulting in an album type effect on each show. [http://www.wfmu.org/peoplelikeus]

PLAYLIST

Sesame Street - Mah Na Mah Na
Sten Hanson - O Altitudo
Anna Homler - Conversation
Feng-Hao - Pleasure
From I'm On My Journey Home - Eephing
Mimmo Rotella - Poemi Fonetici - 1949 rec. 1975-01
Daniels-Deason Sacred Harp Singers - Pleyel's Hymn
Professor Stanley Unwin - Answery Most
Ken Dodd - Nickynackynoo
YOUR DJ SPEAKS over Percy Faith - Summer Place '76
Christian Bök - Mushroom Clouds
Sainkho Namtchylak - Long Continuum
From I'm On My Journey Home - Ringing The Pig
Phil Minton and Roger Turner - Supposedly
Jas Duke - Leon Trotsky
Benjamin Weismann - Hitler Ski Story
Three Stooges - Chickery Chick
Lauren Lesko - Thirst
Vito Acconci - Waterways
Christof Migone - Crackers
People Like Us - Hayfever
YOUR DJ SPEAKS over Percy Faith - Summer Place '76
Stan Laurel - Gee This Is Swell
Dave Pell Singers - Mah Na Mah Na

VITO ACCONCI: TEN PACKED MINUTES

Ten Packed Minutes is an eclectic audio collage of music, text, found sounds, and excerpts from the recordings of Leon Redbone, Cow Cow Davenport, Eric Dolphy, Karl Berger, and Ornette Coleman.

RADIO BOREDCAST PRESENTS... MNMLISM

Throughout the month, Radio Boredcast is making selections of themed music that fit the As Slow As Possible subject, either in an obvious or more ethereal way. Here is a selection of minimalist music, both from the era when it was most popular, but also some other tracks that have similar qualities.

DANIELA CASCELLA: 31 DAYS, SLOW AND STILL

31 DAYS READING LE PONT MIRABEAU BY GUILLAUME APOLLINAIRE AT 8.30AM — FOR RADIO BOREDCAST

Le pont Mirabeau is a poem by Guillaume Apollinaire, published in his 1913 collection Alcools. In response to the theme and the structure of As Slow As Possible/Radio Boredcast, I chose to record myself reading Le pont Mirabeau at 8.30 in the morning for 31 days, anticipating and mirroring the duration of the broadcast in a different place and at a different time.

I chose this poem because of its slow flowing against its slowing into stillness — the flow of water, time and words in the stanzas against the circularity of time in the refrain. The adjective ‘slow’ appears still in the third stanza, the same one that contains ‘love’, ‘hope’, ‘violent’. The adjective ‘still’ appears slow in the refrain, as an impossibility. In the original French poem, ‘slow’ rhymes with ‘violent’ and ‘still I stay’ with ‘hours’.

The lack of punctuation throughout the poem calls not only for a flow of words, but also for different rhythms and meanings arising out of each reading. The readings always took place in my office, sometimes as dedicated recordings, sometimes while I was preparing to go out, sometimes while I was reading the paper or checking the news online. I learned the poem by heart, so sometimes the recordings mirror my small hesitations and gaps in recalling the verses. An old phonograph recording of Apollinaire reading the poem (from the Archives de Parole, Collection Phonothèque Nationale - Bibliothèque Nationale, Paris) supported some of the readings.

Daniela Cascella is a writer and curator based in London since 2009. Her research is focused on sound and on the way it seeps into other formats, most of all text. Her most recent projects explore and employ fictional tropes in writing criticism and descriptions of sound in fiction. She has recently finished writing her third book, En abÎme: a narrative across listening, reading and writing-as-landscape, as part of her research in the MFA Art Writing at Goldsmiths College that she completed in 2011. http://[www.danielacascella.com]

TAPEWORM PRESENTS... GOLDMANN VS FENNESZ ‘REMIKSZ’ — FOR RADIO BOREDCAST

The Tapeworm is a cassette-only label. No barcodes. The cassette will never die! Long live the cassette! [http://www.tapeworm.org.uk/]

This is a remix of Fennesz's "Szampler" cassette, created by Stefan Goldmann erasing Christian Fennesz's original samples one by one and replacing them with corresponding samples of his own, made between 1999-2010 for his Akai S5000 sampler, in the same sequence. As a result, this now-deleted cassette contained no sounds whatsoever from Fennesz's original. [http://www.stefangoldmann.com] On its release in late 2010, The Wire wrote the following review:

"What Remiksz is: an exercise in 'hard-drive dialogue' between Christian Fennesz and Stefan Goldmann. Remiksz follows a previous Tapeworm release, Szampler, in which Fennesz stitched together a series of samples from a collection amassed over more than a decade of laptop sound manipulations. Goldmann replaces every single one of Fennesz's samples from that piece, so that the end result consists entirely of his own personally sourced sounds. In this sense it's a remix of Fennesz in the same way that working through Shakespeare's "Sonnet XIX" replacing every word might be a remix. Does this Borgesian exercise leave a trace element of the organising spirit of Fennesz's piece? Is it a meta-comment on the tenuous connection of so many remixes to the original?

What Remiksz is: a series of miniatures, strung together like jewels on a necklace. A high-speed flick through a scrapbook in which speaker-shredding static is succeeded by ghostly absence and then klaxons of distortion. Eight seconds of static; ten seconds of sinister machinoid exhalations. Experiments begun and discarded by some post-millennial Radiophonic Workshop. A roulette-wheel spin through a radio dial in which most stations are playing musique concrète - but a booming electro groove could click into place at any time. A post-sampling Faust Tape; an utterly absorbing soundworld."

TENORES DE ONIFERI: POLYPHONIC SINGING FROM SARDINIA — SOS ANTIGOS

Strictly a cappella, Polyphonic Singing from Sardinia is an appealing example of the type of traditional vocal-group performing that has been heard on the Italian island of Sardinia for centuries. There are some similarities between the harmonies employed by Tenores de Oniferi (one of Sardinia's most well-respected traditional vocal groups) and the harmonies used by Catholic monks in Italy, Spain and Portugal. In fact, play this next to the a cappella Chant by The Benedictine Monks of Santo Domingo de Silos (a fine collection of Gregorian chants by monks in a Spanish monastery), and you can't help but notice the parallels. But the Italian lyrics embraced by the Tenores de Oniferi can be either secular or spiritual in nature. Traditional Sardinian vocalists often come up with improvised lyrics, and sometimes, they turn their attention to Sardinian poetry of previous centuries. "Sos Antigos" comes from poet Antioco Casula Montanaru (1888-1957). 

KEN’S LAST EVER RADIO EXTRAVAGANZA: GO AT THE SPEED YOU’D LIKE TO GO

Today, our whole downtown is completely enclosed, and we have a welcome neighbor: A GE nuclear power plant. [http://counterfolk.com/ken/extrav/audio/050322.shtml]

DOUG HORNE: SLOWRADIO 2 — FOR RADIO BOREDCAST

Doug Horne has been doing free-form radio and dabbling in audio art for the last 27 years at the radio stations CHRW, CKMS, and CFRU in Ontario Canada. His most curious achievement was curating the long-running and completely unknown audio-art show "Frequent Mutilations" on CKMS until it was over-run by cretin hordes in 2008. He has carried on audio art-based radio with the collaborative long-distance show "The Mannlicher Carcano Radio Hour" (his portion originating from CFRU in Guelph, Ontario). In his spare time Doug is an academic librarian who lives with his family and 8 chickens in a shack surrounded by sculptures made of rusty metal, and hopes one day to have an old car on blocks in his yard. [http://frequent-mutilations.com/Frequent_Mutilations/Home.html]

PLAYLIST

Language Removal Services - (randomly selected tracks)
Steve Reich - It's Gonna Rain
Steve Reich - Clapping Music
Steev Hise - Slicing up America
Bob Ostertag - Burns Like Fire
Brian Eno - Music for Airports
John Cage - Excerpts from "Indeterminacy"
Plunderphonics - Vane
Michael Snow - Sinoms
Gordon Monahan - Speaker Swinging
John Cage - Suite for Prepared Piano
Hakim Bey and Bill Laswell - Poetic Terrorism

ANDREW SHARPLEY: SLOW — FOR RADIO BOREDCAST

Ever been in a bar or a restroom with someone who won't stop talking? Logorrhea, I think they call it. A two hour monologue about slowness should be enough to put anyone to sleep: Andrew Sharpley obliges with a leisurely wander up and down the garden path by way of the hindlegs of a donkey. You know where the door is.

Andrew Sharpley is perhaps best known as 1/4 then 1/2 of UK sampling unit Stock Hausen and Walkman, formed in 1991, they achieved what they had been working towards in 2001 by splitting up. Relocating to France, Andrew then spent the next ten years undertaking commissions, or playing in bands, from animation festivals to jazz festivals to arts festivals in champagne cellars, by way of wi-fi broadcasts in cars and too many hours spent in vans. His return to the UK in 2O11 found him back where he started, and more productive for it. He presents these two broadcasts," slow" and " red herring", as evidence, although for what, is as yet unclear.

ERGO PHIZMIZ SINGS GILBERT AND SULLIVAN: IOLANTHE — FOR RADIO BOREDCAST

Around the age of 11 or 12 I became obsessed with the comic operettas of Gilbert & Sullivan. This fascination lasted around 3 years. There were posters of W.S. Gilbert (the "S" stands for Schwenck, rather spectacularly) and Arthur Sullivan on my bedroom wall. For years the thought of returning to their works "from memory" has been at the back of my mind. My very boring contribution to Radio Boredcast is "acappella" versions of the G & S operettas "HMS Pinafore", "Iolanthe", "The Pirates of Penzance" and "The Mikado".

Some of them I know better than others. In the cases where I didn't know the melodies, I made them up or roughly talked through them. I also decided to not use different voices for characters, and to omit stage directions, so we are left with a very boring barrage of Victorian words, tuned and untuned, from my tired, monotone voice.

Ergo Phizmiz is a composer, writer, and multimedia artist. He makes pop, theatre, installations, opera, radio-art, radioplays, sound-collages and performances. He lives in Bridport, UK, and has a headache. He never wants to perform Gilbert & Sullivan again. [http://ergophizmiz.net]

OVER THE EDGE: WORD RECEPTACLE

This one is all about words, specifically all those that the FCC prohibits, with lots of unembarrassed examples. I thought it might be interesting to use the actual words being endlessly discussed for a change. Some clips from an edition of This American Life provides an excellent discussion of the FCC’s impossible words and especially their unproven effect on kids, while lots of offending material from Lenny Bruce to Eminem is heard as well. This is my unauthorized attempt to relax a little around these words and try to depict how hearing them in the middle of the night is a relatively harmless experience. (June 17, 2004)

Over the Edge (or, OTE) is a sound collage radio program hosted and produced by Don Joyce. Joyce is also a member of the pioneering sound collage band Negativland, members of which frequently make guest appearances on Over the Edge. A series of Over the Edge episodes have been released under the Negativland name. [http://www.negativland.com/ote/?p=802]

Founded in 1981, OTE is broadcast live on KPFA in Berkeley, California, every second, third, and fourth Thursday morning from 12am to 3am. On the rare occasion of a month with a fifth Thursday OTE runs an additional two hours, from 12am to 5am. The show is also available on-line, streamed live from [KPFA.org] (where you can also podcast the show), or from [Negativland.com], where many older episodes are available as well.

 

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