raw scripting

ideas in pieces

I WANT TO LET SOUND LET IT FLOW LET THAT BECOME MY activation ACTIVITY THROUGH MY HANDS MY STANCE-hear at the sink read ready for anything THE POSITION OF MY POSTure aligned to this life- hips over feet, loose, knees slightly bent, shake out neck gentle- arms alive, hands awake responsive, seeking...  texture. this begins CROWS AND SWANS and WATER FOWL

HER HERE THE DAY ON PALATE THE PREFERENCES OF OUR diet. RAW OR COSSETED,  AND now smile and scrape away the A MOMENT TO REFLECT  as the sink fills ON THE GLORY TO WHICH WE LIVE,ALIVE break....  The radio is on. something sought to make this right- dial spins like a compass a rhythm keep ing beats a voice to engage a sound to enrich, captivating, blur, reassuring resuming reinstating the kitchen as the site of embarkation...

       ADHERE TO THAT... UNCALLED FOR, WITHOUT GLORY, PUTTING THINGS RIGHT, rightful places  LIKE THIS, MY VERY WORK a work OF ART - A TIME for CONSIDERATION, considering, its  LIKE DANCING,  HANDS MOVING TO RHYTHMS FEET TAPPING

LEAN ME LEND YOUR EARS LET ME MENTION,  I THINK THIS IS BEAUTIFUL-  WE LET IT BE AN ACT OF SOLIDARITY- densely bound in the dance- objectification and subjectivity -   THESE ARE OUR DISHES WHICH OUR FAMILY HAS USED- THE FOOD WE ATE COOKED BOUGHT GREW, TOGETHER, SHARED IN THAT- AND THIS IS THE REWARD- THE RITUAL OF day after day after day after day


(HOW ABOUT THEM WOMEN ? THROUGH TIME KEPT SEPARATE FROM MORE PROACTIVE ACTIVITIES THAT MIGHT CHALLENGE... THEIR SENSE OF PROPRIETY/ held up as a virtuous slave (LIKE IF WE KNEW, HAD EARS FOR THINGS OTHER THAN FEMALE CONCERNS) ,had a moment to look up from the chore the household management as the lifelong quest WE WOULD NOT KEEP SILENT- RISE UP RINSE UP AND DEMAND MORE- MORE EQUALITY MORE JUSTICE MORE HARD WORK AND MORE CELEBRATION)not to suggest- there is not a magic here, kitchen- when the fire burns and the water gets poured- home hearth hub woman's place....
WOMAN! STOOD THERE OVER THE SINK LIKE YOU'RE LIFE HAD COME TO AN END- THE INSURMOUNTABLE PILE OF DISHES THAT STRETCHES INTO THE FUTURE- always WAITING- ALWAYS THE FULL STOP TO A MEAL-  .... THIS IS A TIME OF CELEBRATION TODAY WE SURVIVED TO ENJOY- THIS MOMENT IF NOTHING ELSE- THIS CHANCE TO ABSORB OURSELVES IN.....    absorption...

I WISH IT WAS DARK I COULD DO THIS WITH MY EYES CLOSED CLEAN RINSE THE PRACTISE OF A LIFE TIME I CAN PLAY THIS ON MY OWN- JUST YOU FOR COMPANY GRANDLY MAGNIFICENTLY UNDERSTATED IN THE RESPONSE TO THIS- A STACK OF DIRTY PLATES – HOLDING MY LIFE ON HOLD FOR 20 MINUTES THE DOOR CLOSED THE RADIO ON
(Marxist feminist Benston (1972 cited by Haralambos and Holborn: 2007) viewed the conjugal roles of women within the family, as free labourers used to provide, a capitalist society with a free resource for socialising children, and providing domestic labour.)

this is a labour of love a woman knows bright knives here soap languorous so tied with affection and responsive  to the counter sinking into domesticity- I once was in the Russian circus – a plate spinner, a bottle juggler, a knife thrower a tamer of lions and fiery hoop leaper... and now, i am if not content with lesser achievements, happier to seek thrills in more exotic places....
Tea towel wipe away what counts as another yet another- study- the light in this room, my breath is the room the walls fade and the work becomes apparent like the art of making it occur me just the rider here gone gone bubbles float through the air and I note its not something new but it has not happened yet....
the most marvellous women I know are pot scrubbers- not high in any ways apart form their souls stronger than any iron- resilient and steady- full of passion and kindness. They just get on with it.

Is this a dream? Queen? This I know you get born you do the dishes you die. But the dishes bit, that stands for the whole of life- a series of acts- small great acts, great small acts- someones got to do it, and it seems to be you...
I scrub therefore I am
and I listen to the radio as I wipe the sponge my ear soaking up sonic flux and fade rinsing me clean of the accumulation of the feast of the day roast this boiled that baked on- auto pilot programmed to carry out these tasks, a strange moment- liminal between demanding chore and imaginative participation- might as well make the most out of being alive.
(there is no act that is not the activity of life)
detritus, flotsam, my hands like underwater cranes, sea claws, fishing deep for treasure- warm and reassuring that we aren't animals- no, we keep on top of things, sometimes..we try to brush away and re prepare for the next round the next the next and no regrets here hands in the sink the day plays out trials and tribulations small success's against the backdrop of global situations- what can we do here and now, wet to the elbow, pans and pots a testimony to the work that defines you, good Cook, householder, first rate pan scrubber?
The even evening continues.... the music ebbs and flows to the sound of the scourer.... “living? WE let our servants do that for us.”
In a ideal world I 'd have a dishwasher, and there'd be no wars or famine. In a ideal world I'd remember to  keep on top... on all that- and keep on top of my mind, it wonders out it wonders out as these hands do their dirty work.... motions towards order, cleanliness

like a plug pulled like the moment has come and we might break down, begin again, brake all these dishes in a moment of dissolution- this is not who I am I move against the idea of serfdom- of being here again while traditionally, toasts are being raised in another room.... being tied to what cannot be described as other than the intolerable grind of the every day- I got so much on managing the home, I ain't got time to look after other things-  though this cannot be described as other than an act of love- love the eaters of this food, love the dishes collected at thrift markets and as random gifts, a patchwork of china, porcelain, tin and glass....love the act of care- but know it to be my undoing- even as it could be my saving grace....
what revolution can I join, but after my chores are done? Where is the march toward emancipation? The call to arms?

I am yet the only one that hears me? I am not beyond the risk running like I might just break something might just throw it to the floor and running out the door go find some other (don't say it don't) another challenging quest to better right my angles on- stood here sink sunk grounded in a chore.

Yeh th\anks, you know we love our kids the lines of concern and quickness to defend shows it to be so, its not a home made thing, a construction of so many parts- do the washing up, go fall asleep in the

hands held by

outside

glass reflects a synchronised empty movement- a silent dancer caught catching the eye occasionally- god you wash up sooo well..... that outside- holding all its secrets body chained to the sink mind set free to roam--- foreign lands women squatting at the well, pan will dishes, soft light, tin and steel plate, sand and mud to catch grease and smell the evening the birds returning to their roosts, or cities with...silent lines of gliding sides white on gray on expanses and some kind of control...

put it where it belongs

the mechanics of hands and fingers and arms work- washing up, fixing watches and playing piano

figarandos, works of art that do not remain, move on, transform are other than less than more than...

creeping towards rest, lulled to consider greater considerations than . . . swipe swirl like this is the pinnacle of experience- try it out hear and now- the standing truly- spine and feet realign, the sink as prop rejected for my own two feet, like eyes closed I could do this... the rack fills up, a jenga of utensil and receptacle- the wares of an art as transient as to be almost imperceptible.
The outside, windows look out, light on trees, a view of freedom- unrepentant desires to be done and on, fulfilled away from the sanctum of housework.... nothing blocks that but the responsibility to free this workspace for the prep of the next instalment of domestic possibility 
this is my chop wood carry water- rather than a moment to remember its some kind of surrender, and in that, achingly, its very very ok

round my mates- NOTE- THE RADIOS, FOR HER LISTENING PLEASURE - to follow- soundcloud audio link

Reimagining the site- sink as utopia , kitchen as T.A.Z, this as a revolutionary everyday moment

(wall man time zone, barrier to understanding like a piano play you break it dwon down down break it down like a wall a zome an d a man d- lthere is something there afterwards something beautiful ausde able a exchange can take place something beautiful something clean and clear life like we can get eachother now . Like, help me beak it down? That is the question the mission the beautiful TASK. And I would break down break down in the pursuit of it sommething to share share it like it matteres this it does .

And all I ask is the chance asking of everything. Free fall somehow difference keeps it where it should be drunk with out drink)

This work is, of course, on multiple levels. To ask 'what is radio's place in the domestic environment?', is to ask also, 'what is my place in that environment?' My desire here is not to …. unfold a study of easily understood platitudes or a+b=c, but to outright a sonicart piece that for it's maker, at least, does all it can to reinstate and celebrate (a situation, contingent to) chaos.

Hakim Bey (1985) states 

There is no becoming, no revolution, no struggle, no path; already you're the monarch of your own skin--your inviolable freedom waits to be completed only by the love of other monarchs: a politics of dream, urgent as the blueness of sky.
 

When approaching a subject subjectively- (this is my degree, my ears, my hands in the sink, my listening environment, my voice- all in response) I start at this point. I am fortunate (a monarch indeed) to make art- privileged to be some educated, free to muse, to create from my wealth of experience- but I see that 'the love of other monarchs' might be understood as work in company? Sink Play seeks this- by exposing/exploring a shared but unspoken bond- full of politics, and as real and current as the elements employed in its service.

So, I use a radio show to  

Bolt up brass commemorative plaques in places (public or private) where you have experienced a revelation or had a particularly fulfilling sexual experience, etc.

A ephemeral event, rather than a plaque, to make the kitchen sink the throne room for 20 minutes- to reclaim that space as a site of potentiality, wonderment, realness, imagination.... 
 

I take Bey's advice and  

Organise a strike in your school or workplace on the grounds that it does not satisfy your need for indolence & spiritual beauty.

  Yes indeed! Marking the boundaries of the missioned space- and oneself as the activist, and actioner within that space, demanding a recreation of angles of attention- a re imagining, if only in one's ears for those few minutes, the 'your' in Bey's sentence the essential ingredient your life- my life- what we have right here and now... 

Bey writes in CHAOS MYTHS, “If it does not change a life (other than the artists') it fails”-he claims if a work does not inspire a emotion of or as strong as terror-- (powerful disgust, sexual arousal, superstitious awe, sudden intuitive breakthrough, dada-esque angst) the work fails. How beautiful, but unpractical! (unpracticable?) He states that the only creed the Poetical Terrorist- one involved in living ontological Anarchy-cannot abide is the Taoists' total quietism, but..maybe Bey has missed the point- not to devalue Bey's very living very beautiful text- but postmodernism seems to express extremes, and then give up, limit, reject simplicity, become nihilistic in its extremity- as if, changing minuti is both pointless and powerless. I think the most powerful and constant moments (yes the ones filled with terror and wonder, when life is like being struck with lightning) are the moments filled with the most simplicity and tenderness.  The failure can only be in ever limiting what is achievable? (oh dear! Refusing to accept the only route for a woman/mother/householder to break the holds of conditioned mindsets is by extremity or osmosis- we must then supply alternatives ... raising children and 'making-do' in the world of practicalities and responsibilities is also living on a knife's edge... what we have to work with is as powerful...) 




 

This project uses multi sonic strategies- such as the field study, the interview, spoken word poetry performance, generated soundscape, to achieve as powerful listening experience as possible. Why not just record a washing up session, and play it out, thus subverting the value judgement of washing up being a waste of time and thus not worth broadcastable? ANYTHING IS BROADCASTABLE NOW. Sonic art is constantly re-representing sonic experience in ways that invite remaking angles of attention- we, listeners, have our ears open for the opportunity to break habits, to be involved in this project of realignment, to participate by responding. I don't think a field study alone would be of interest (to me)-unless maybe, if the work were to be located in a gallery with a audience predominately consisting of champagne sipping middle class white men, stroking their chins with their soft white fingers... “Is the washing up art? Hmmmmm...”

A poem can act as a spell & vice versa--but sorcery refuses to be a metaphor for mere literature--it insists that symbols must cause events as well as private epiphanies. It is not a critique but a re-making. It rejects all eschatology & metaphysics of removal, all bleary nostalgia & strident futurismo, in favor of a paroxysm or seizure of presence.
 

This work is made with a under-represented audience in mind- women at their sinks scrubbing pans- I wish to present a overlay that does not seek to bypass actuality (get your hands back in the sink!) but enrich it by underlining it- calling it out some, celebrating it by exposing its wonderment....

^{Helene Cixous, writing in 'Lemonade',}

<sup>“(because everyday the mystery of living occurs with its innumerable questions. But only occurs for those who remain in the region of mysteries. A region so troubling, excessively rich, almost untenable. Because it is difficult for us to bare the riches of life. An to live the inexhaustible vitality of the truly important life is humanly exhausting. And if you weren't there to help me enjoy it, living would be unbearable.)
Limonade tout etait si infini, Des femmes, 1982 translated by Ann Liddle 

This kind of writing is not a separate project to life- living should not occur only when the chores are done and you can dance all night at an illegal rave, pick up a book, attend a concert or rally or protest riot or sit down on the meditation cushion. 
Why should I be falling over? Do I have to remain sober to do the washing up?</sup> 
 

The TAZ desires above all to avoid mediation, to experience its existence as immediate. The very essence of the affair is "breast-to-breast" as the sufis say, or face-to-face. 

This radio work is assuming its listener (singular) is located in a action at a situation. Already, is this a impossible project? Might it be.... possible, to create a situation where face to face is not necessary ?  (What happens when a book is understood/read with Barthe's Jouissance? This is some physicalized delight that is traditionally even more 'accessable' and present through  musical and audio works, as in 'writing aloud'...) Is that a T.A.Z right then and there? And on the radio- if work is live, a offering, desiring to be shared, to break with conditional limitings of a medias' possibilities, can there then be a connection which is electric, a moment which supports the reclamation of singularity, a Temporary Autonomous Zone ? 

 

 cited texts:


Bey, Hakim ("Anti-copyright, 1985, 1991") T.A.Z : the temporary autonomous zone, ontological anarchy, poetic terrorism.  : Autonomedia, 2003. Brooklyn, NY

Limonade tout était si infini, Des femmes, 1982 translated by Anne Liddle in The Helene Cixous reader edited by Susan Sellers; with a preface by Helene Cixous and foreword by Jacques Derrida. New York ; London ; Routledge, 1994.

first proposal- miniFM (rolled over till next project/ patience my sweet , patience...)

Writing a manifesto causes me irritation- my fibres resonate with unarticulated  reasons for being- like I couldn't change or amend once written it holds me captive like a judge---so ambiguous me, so unresolved- why, how, resulting in...

a manifesto to live to -one that would make me thrill, one that I can grow into, love, guard, share..... this manifesto is basic because the ambiguous nature of the project cannot yet be defined- this project, sonic arts project, life- this one- itself a experiment, a game, a holy endeavor a rolling motion into the unexpected- I am work in progress

imperatives and power words- forward motion, stillness.

Plagiarism and influence

proposal:

I want to make a mini FM transmitter unit with which to broadcast (and receivers to receive?).

I will be weighting my project 70% 30% to the practical aspects. This is a stratagy to ensure I produce something practical :-) with which, future experiments will have a platform...

For this module I envisage performing a radio show of indiscriminate length and direction, through a device I have fashioned myself along the lines of the directives found online and though other media.

- (radio contortionists, musical actions, communicative expressions, producing my own work-in-progress and is a exercise in curating interactive arts space of for listeners to share through creating....)

Do I find a event to tie the work into? Finding willing passers by to input may be problematic... a mashup of past influences and up aired work.

THIS IS WHITE NOISE

beating the boundaries of transmission could be interesting- this feels political- out of transmission= voiceless.... random, lost, chance, ambiguity...

exposure, interviews, sonic documentation of happenings and others work.

The floors of the performance centre outside inside.

a dance choreography radio movement textual colaboration?

This mini FM transmitter

Following Tutsuo Kogawa's models found online, I will endeavor to construct a transmitter a which will allow me to further my work- broadcasting beyond the confines of institutional corporate concerns and dictates, without involvement in the radio station's ethos- no need to qualify as a broadcaster- just play out....

Free radio does not broadcast (scatter) but communicates (co-unites) messages to a concrete audience. Opening programming, translucency at source, democratic practice .

Kogawa flags the issue of transmitter receiver being a cultural problem- and asks that a concept of transmitting/receiving be developed, so that, along side the technical transformance of receivers into transmitters, a more open understanding of relationships be developed. This is to ask for a producer to develop their ideas of subjectivity- to enter into the domain of creative practices as are of the relationship models being performed as much as the act of radio wave control/ a practice of freedom (Foucault) apposed to a act of conditioning. as in Guttari's idea of transmission transversal- “unlike conventional radio, free radio does not impose programs on a mass audience whose numbers have been forecast, but freely comes across to a “molecular”public, so that it changes the nature of communication between those who listen and those who speak. “ This is done by the approachability of the transmitter- its location is approximately that of its reception- its producers are its listeners, the act of multi-point communication is honoured- individuals can participate in specifics in different ways-, negating the centralized power seat removed form everyday people's involvement- consumers as creators, opposed to consumers as silent- radio like this brings debate and conversation back into the (area of transmission) public area.

Public and personal

So why not just talk face to face? There is a agenda involved in this project- my desire to subvert and unlock the traditional and problematic control of the airwaves by the power holders- the rights of governments and corporations to rule the output- and the representational stranglehold of stereotypical communications...

where do I fit in? Hybrid, uncomfortable, mutant, irrational, ambiguous- not wrong, not false, not mad, not nonsensical- the use of a public addresser to address these situations through the propagation of artwork and social work that would not find airspace on conventional radio.

'below 15 micro volts per meter at the distance of 100 meters from the transmitter

theoretically covering a .3-mile radius

76-90 megahertz

here are the links to investigate:

http://anarchy.translocal.jp/radio/micro/howtotx.html

its antenna http://anarchy.translocal.jp/radio/micro/20050327antenna_e.pdf

vid- http://www.youtube.com/watch?v=agQren96kYk&feature=related

http://tacashi.tripod.com/elctrncs/smplfmtr/smplfmtr.htm

http://www.ehow.com/how_6717913_make-fm-transmitter.html

4.55

http://www.christofmigone.com/html/projects_gallery/radiocontortions.html

·      How would you describe your creative (sonic) practice?

My practice has been mainly focused around facilitating my script and writing work onto a sonic platform though the course of my BA. I have studied soundwalks, and produced several , performed live poetry to a sound scape crafted form recordings made on site at a derelict school, and broadcast works of radio contortionism on air which have taken the form a solo voice transmissions. I have curated a regular show for Soundart Radio, and made several short works for the radio station's festivals during my CEP project.

I do not play instruments as such but am keen to explore sonic possibilities in the world around me, and my writings (and reading) often focus upon address and conversation, the communicative aspect of expressions and the politics of noise. My work to date has been monoglossic, I am developing my voice with the presentation of work though workshops and practice.

·      What are the source materials that you work with? [Input]

usually a written script, recorded audio via zooms and binaural mics, and other recordings taken form Sourceforge etc. I like to make live work on radio- this is a challenge to my performative skills, which are unpolished to say the least- but I also like to work with mistakes and cock-ups- Freudian slips, stutters, etc.- the work I make enjoys exploring its own mortality?

How do you interact with your materials? [Sculpt]

I 'play the environment to generate sound',(i.e. sticks against metal railings) and use Cubase editing software. I have not explored production much- pedals, effects, looping- these are things I would like to experiment with, but have not found the opportunity since my time is limited re other responsibilities and I often have to focus specifically on the project in hand with little room for other interests.

My pen is a exposing tool, paper contract,

a microphone the ear of god, radio waves a prayer

This is always changing- there is something about 'creating' that makes me feel alive- I interact (try to) with materials in a way that allows this process room- it feels good, I leave the worth for listeners to decide...

·      Describe the type of output(s) and ‘output’ scenarios that you have created and are interested in.[Output]

I am particularly interested in radio art at the moment. This is half the romanticism of the medium (who listens? ), and also it's suitability for the work I am making. I particularly appreciate radio as a 'open source' – free to anyone with a radio receiver, no locational bias, etc., and its possibilities as a community articulator. This is important to my as an artist. The randomness of tuning in also fascinates me... I would like my work to be located as broadcast, as narrow cast, in gallery installation, but always as a approachable work- something that is open for a listener to respond to, and a dialogue to occur. This is something I want to investigate further, and I am hoping to create a live radio space that is interactive, via mobile phone, Skype, email, drop-in...

·      What is your strongest point as a creative practitioner?

I am still learning
·      What is your weakest point as a creative practitioner?

I judge myself to harshly
·      Outline your initial idea for the term
·      Is there anything in particular that you are wanting to develop, observer, test, experiment with, learn, etc. with your   Sound Practice 2 project?

I will work from the tutorials and instructions found online, and look at similar methods of creating small broadcasting outfits. My desire to make a portable low narrowcasting unit fulfills several ambitions:

to master some technology

to eat cake drink coffee and learn with my geek friends

to have a usable work to move through future festival/ broadcast environments.

To have a self managed platform for my writing.

Listeners bring their own speakers.

I have a microphone

Transmissions that Publicise the Private,  or through an opening of dialogic space create new energy and directions within a social order.

Programming that re-instates the authority of chaos and chance, within the context of a functioning community.

Broadcasting that foregrounds and celebrates ambiguity and individuality, supported by structures of acceptance.

Work that transforms attention into action and revitalizes languages’ and radio’s uses in the public sphere.

strange to assume being 'in a community’ should include works that seek introspection and singularity. communities satisfy many different very different approaches and callings- there is no cheating or disrespect offered by moving between medias and movements- does the work suffer?- no! It enriches the community-that-is-better-understood-by-what-is-not, for to write or speak as a individual and honour the alone and alive approach to experiences whilst also collaborating (more or less) with others in a social framework I don’t want to be owned by the council, by the hippies, by anothers’ agenda- the words i write are for me first- thirst they slake, we don’t stake the paths of whirlwinds-
splice that biatch together with the tape of love

I never feel authoritative enough to write good work- the only thing i know anything about or am good at sharing is the working of myself-  SLEF- trust that but is that ego centric the work of the self obsessed alone and shouting at the empty sky?
wow what A IDEA- FORM THE PHYSICALITY'S OF FADERS AND HARD WARE TO THE ACTION OF A WAVE AGAINST A COCHLIA- RADICAL RADIO BUTTING UP AGAINST COMMERCIAL CONCERNS AND the history of a media that gives heat to subjects flagging as it passes at the speed of sound through barriers physical and metaphorical...
there are two strands to my enquiry-
how radio serves communities
and how communities can use radio to fulfil there desires
desires is the word of choice here- essentially radio lays down
physical waves
a reference point
a opportunity for engagement
a authority for contemplation

By art i subscribe to the form of human endeavor set out by artists such as If a book does not assault you why read it? Kafka And Art is not a mirror its a fucking hammer Andre Stitt and ideas of community arise from Cixoius’ femmine writing , Bell Hooks and other feminist socialists. I want to understand and forward community as a remedy for the fractured dissatisfaction so eminent and resulting in the social miss-management we live under.

The exercise of ego is not the major player here- challenge and change is part of life- there is no hiding from the fact that that is the only reliable aspect of existence. Audio work has properties specific to its form. The listening and hearing faculties are themselves socially constructed, and radio can in someway subvert this distinction by being available across many territories and geographical areas,

We listen to so many forms of communication- warning, invitation, pleasantry, order, nonsense. evasive, radical.

See Sassure? A artist weaves these all into a work that is open to interpretation, and even seeks to open the pandora’s box of meaning – ambiguity is a reflection of reality/reality itself, a listener forms opinion

Free radio constitutes a veritable feedback system between the listeners and broadcast team, through direct intervention by phone, open studio doors, through interviews or making programmes on cassettes by listeners, etc. 86 Guattari?

 Good. I could have said 'documentation' was my weakness, or 'time keeping'. But , you see, I know where my weakness really is- where my practice suffers most from mismanagement of my personality. I lack faith in myself- my audio, my tech skills, my writing, my reading, my ability to present my ideas, my right to perform, the worth and value of 'me' questioned. The other side, blase confidence in ideas that I don't hold to 'the right of my work', a place in this established centre of excellence....also not right.

What is right is small but cannot be questioned.... and that writing which is mining- mine-ing , that is what I am interested in- and the vulnerability that follows that/which I work with as emotional detritus of my life is a undeniable part of that process process it then- open it out, make that recognisable, by all honest tools I have, expose something that is a weakness- but through that find strength and develop skills for transferring- the overcoming of obstacles in expression and communication- a knowing of oneself, a deepening, and in that, a humane relivance? re-live-ance relience relivent reinvent 

Cracked ego, he said, cracked like a egg- shell in a thousand crazy pavey delicately held motes, try to peel a egg though, it don't always just come off smooth-

The electromagnetic field is one of four forces known as the fundamental forces of nature (the other three are gravitation, the weak interaction and the strong interaction. What are these? They are so essential to existence that they are neglected? )

Radio waves are found within the electromagnetic spectrum, –as are microwaves, infrared, visible light, ultra violet, x-rays and gamma rays, and uses the modulation of electromagnetic waves, with frequencies bellow that of visible light, to transmit signals through air and vacuum of space. Wow! Fundamental universals manipulated, tamed, made to conform and carry code, transmitted and received, cool!

(playing with my zoom in public as I was out already, and liking the work I was hearing), this threw up questions about fear of my own work being heard, and my belief in the work of others- the work I recorded, whilst engaging and entertaining was not necessarily my ‘kind of work’.)

Gregory Whitehead speaks eloquently on the differences between radio and sound art- differences that are natural, and should be honoured- the medium is the message, and has more to offer than being a vehicle for sound art.

Once you make the shift from the material of sound to the material of the medium the possibilities open to infinity, and things start getting interesting again.

Radio Place Is No Place, A Conversation Between Jerome Noetinger ad Gregory Whitehead.

How difficult to make those valid feelings work toward a positive transformation- powerlessness is a form of surrender, and here, at college, in the west, so supported and fortunate, there is a responsibility to work with that in mind- others have/are will suffer to provide this luxurious life-style we ‘enjoy’ (no other way to put it) opting out is a lazy option, to work creatively to reset balance, by spreading awareness and challenging injustice where it is encountered. My work wants to engage with this subject through the medium of the radio- live, uncensored- with a real awareness of that opportunity and a communication with others in the world that might feel the same- maybe the world is in a state because of the types of communication we use en mass are untrue to the actual existence of us as beings in this time on this planet….

They explore the idea that even if we are subjected only to programming that is meant to subjugate our free will into automaton type consumerist zombie-hood, the freedom to tune between stations at will, even ‘ according to our ‘own whimsical metaprogrammic inclinations’ breaks the hold of the advertisers, so that the listening space of the audience/creator becomes the site of performance.

Local radio- relevant to those who live in a community

Police and emergency radio

Citizen broadband

Hospital radio,

School radio,

Shows on a local community station- i.e. Soundart radio- open to choice led shows from any willing programmers.

Public radio- corporate consumerist led advertisement- news from government approved media moguls and those with vested interest in maintaining ‘order’ and ‘status quo’ – these words totally bug me when people are being slaughtered and natural recourses plundered- there is no land of the free whilst our peace is bought at the price of others’ misery and blood. I am so ignorant- But I feel the difference between right and wrong- so would you – its simple – let some folks rape your mother sister and daughter whilst they burn your house and force you to massacre your neighbours- it doesn’t sit well in a persons mind does it? As the late great Vend Vicar said – “ Don’t try to talk high art to women with their wombs hanging out between their legs.”

Materiality, sensuality, fleshed out,

Lips, guttural mutters, the seemingly

Anonymous caress of thousands of voices

Poised inches form the Ear muzzle us

With their musings, immerse us

In the grainy configurations of body talk

Versus the merciless disembodied tongue

Frizzle/ Mandeville

listening a predisposed culturally learnt  physchological position of attention
hearing- random situational physiological accident- Bernstien

OWNERSHIP + RESPOSIBILITY = COMMODITY + DISPERSAL OF INDIVIDUAL RISKWEIGHTVOICE

this is another new beigining they all begin this way- like that a kind of tumbling processional- free form into something else- hopeful of transportation to another angle of understanding forging on till the work reveals itself....

why scripts? The essential use of words within our culture to manage physical reality suggests a handle of languages' use is essential to forwarding change.  Art is the most revolutionary force i have encountered, after starvation and torture (which as yet I have only had to imagine), and over those two i privilege art as a force for good in a persons’ direct involvement- art stimulates growth, feeds itself and gives to others ad infinity as it is encountered. so the 'art of being well spoken'- over rated- but the where with all and creative intention to craft another kind of view with words /images/ text of any kind seems most valuable...  We deal with individuals on their own value weight- after we read into art all kinds of messages, we deal with other human beings, that either share a synergy or create discomfort and aggravate challenge.

The development of my own scripts and the hosting of an environment that makes available to others the wonder-full possibilities of radioland- the open door- a invitation to respond live, to discuss, to share and participate with the direct dispersal of output. This device will allow me to write without the nagging worry of acceptance and the influence of broadcaster's needs- to be the one in charge of my own creative contract, and to become conversant with narrowcasting without the dreaded responsibility toward the organization....

I find I am scuppered in this project- I did not realize the finding of componants would be so difficult....

the diodes alude me.

The radio tuner flange will be shipped in two weeks...

I can't find a transistor DC158 ohm anywhere...

I continue with this miniFM project, but for the needs of my Sonic Arts Practices minor, I will focus my energies on something other- a composition...

in two parts

live washing up in a studio

2 broadcasted from soundart radio

an evening performance of the multilevel experience of radio.

Considering:

waves

time

place

ambiguity

tuning

opprotunity

relay

loop

fractal geometries

the use of radio in the world today

something with which to frame the experience of partaking- multi leveled....

imagination

desire

input out put