The centerpiece of the Radio On exhibition was a new sound installation in the form of a radio broadcast, dramatising real activity that took place in a German concentration camp towards the end of the war.
"...I am not really interested in developing a presentation of radio-specific content like radio shows, radio plays or a particular approach to working with sound or art a priory. Instead I am rather concerned with developing a collaborative and site-specific practice of listening, while developing listening as a useful and concrete method capable of responding to a particular social and political context.."
Listening space. Post US-election-sonic-shockwave, listening feels and means differently. Listening: a concussive force deep in the body, subsonics shaking the ground of feeling and of being. Listening: a solitary explosion in the self which no other can hear. Ears ringing, there are frequencies we have lost. Listening also constitutes a new public space, a social resounding: listening together, to-gather.
Through the radio broadcasts, the harvesters at the Gran Ghetto are able to share their experiences and talk about their inhumane living conditions, in order to expose their struggles and warn other migrants.
Performativity is a useful concept when thinking about the embodiment and intimacy of voice without falling into the essentialist or phonocentrism. Emerging from the body, voice is marked by that enculturated body.
Most of the reporting around climate change is bleak. Climate Symphony will offer a new way to address old scripts and a chance to contribute to a broader conversation on ways forward. This is the sound of a dying planet, our planet and our transient position in it.
Remote Orchestra is, on first glance, relatively simple: is the attempt to bring musicians living in different cities together using free, off-the-shelf telepresent technology and internet connectivity to affect real-time collaborations. Remote Orchestra challenges the quotidian relationship we have with technology and the politics of time and mobility that are made invisible by their very banality.
Between 6 June and 9 December 2016, listeners to FREIRAD – Free Radio Innsbruck have been able to hear unusual interpretations of customary radio formats such as jingle, hit, radio course, or news. These vocal formats have been "smuggled" into the normal radio program and broadcast with no prior announcement.
A Dystopic Listening was recorded in a small church in the countryside, close to Florence, on a rainy november afternoon. During the recording session the door of the church was left open. Three microphones were used for the recording, they were placed at gradual distance from the musicians in a fixed position...
Did these stories somehow match? They believed so. There seemed to be a mysterious remote connection between a director describing a character, a trippy tribute to a falling star, the deep sensation of a colour that can change the surrounding world, and a mechanical voice mumbling about image capture. A matter of common taste probably; or just a shared moment of perception.