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:
4.55
· 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?
· 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?
· 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
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
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
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.
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
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