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Radio



Fellini 5:05
Solo de Maude 10:21
From Barok Soundscapes (2002)

Nancy Tobin
Soundscapes composed with micro excerpts from orchestral Baroque recordings on vinyl. Originally composed for a choreography by Danièle Desnoyers, for the production Bataille by the Montréal-based Company Le Carré des Lombes.

Symphony #2 for dot matrix printers (1999) 40:00
[The User]
Thomas McIntosh
Emmanuel Madan
Performance for fifteen dot matrix printers and personal computers, ASCII text compositions, network server, microphones, sound system, miniature video cameras, custom video switching technology and video projection.

Fifteen early-1990s era dot matrix printers become musical instruments; an “orchestra” of obsolete computers is used to print them. A network server “conducts” the Symphony using a serial command network. Miniature video cameras are inserted within the mechanisms of the printers, and using a low-tech custom-built video switching system, the images are projected onto screens behind the orchestra. All sounds and images are created live by the printers on stage with no additional or pre-recorded content and a minimum of electronic manipulation.
Symphony #2 for dot matrix printers was commissioned by Hull Time Based Arts (UK) and realised with support from the Daniel Langlois Foundation for Art, Science and Technology. Concept, design, construction and composition: [The User] – Emmanuel Madan and Thomas McIntosh. Software: Thaddeus Thomas, ReDada software. Electronic engineering and manufacture: David Ozsvari.

TACLERON 1999 (1999) 30:00
s*
Recovering long lost tapes of the N30 protests (the Battle of Seattle), s* composes a tense montage from the police scanner, combatting surveillance and arrest activities with frequency and noise manipulation. TACLERON 1999 presents a full immersion in overhearing behind-the-scenes banter, providing the craven ear with its own surveillance apparatus, and seducing the listener with the unheard discourses of secrecy and power, personal and public.

Released as 1981 / 1999 Split Cassette, with a.j. cornell on label IO SOUND (IO/003)
URL: http://iosound.ca/2012/05/io-003/

Thrum (2015) 31:54
Kristen Roos
Thrum is a recording from a site-specific (performed) sound installation designed to activate the built environment of a park field house, which Roos accessed through the City of Vancouver’s Fieldhouse Residency Program. The work sought to re-imagine everyday interior or domestic space by wondering what sounds and frequencies are hidden in these spaces? How can these hidden vibrations be made tangible? Using a variety of microphones and an RF receiver, Roos recorded sounds from all aspects of the house—its electrical infrastructure and appliances, the vibrations in walls and windows, and all signals passing through the house in various frequencies on the electro-magnetic spectrum (including wifi, mobile phone, radio, etc). The site recordings were then sculpted and tuned for the surfaces in the space, and reinserted using tactile transducers and modified speakers, which allowed the walls and appliances in the house to become the voices and the players of these sounds.

Café ELF (2012) 21:15
Absolute Value of Noise (Peter Courtemanche)
Café ELF is a generative radio piece made for Art's Birthday (January 17th) 2012. Courtemanche mixes the sounds of the ambient magnetic environment with broadcasts from two ELF (Extremely Low frequency) transmitters. Café ELF plays with magnetic radiation recorded at Solder & Sons (a Vancouver-area cafe and bookstore which was located at Cordova and Main Street in Vancouver from 2007 - 2013.) The "rhythm section" in this piece comes from a small but powerful electric heater nestled up against the bookshelves.

ELF is electro-magnetic radiation that occurs in the audio spectrum (20 Hz to 20,000 Hz). The ears pickup sound in this frequency range, but only from physical waves in the air or other mechanical medium. We are constantly surrounded by a world of radio-waves that oscillate in this range, but we have no direct way to sense them. "Natural" ELF radiation is caused by phenomenon such as solar-flares, the aurora borealis, and lightning storms. In populated areas, this natural radiation is mixed with and often obliterated by the noise of power-lines, transformers, and fold-down from higher frequency transmitters (radios, computers, monitors, cell phones, neon signs, anything electronic).

Constriction (2015) 26:30
Andrea-Jane Cornell
This piece issues from an confluence of episodes of Chaud pour le mont stone, a radio programme operated by Martine H. Crispo for the past 24 or so years on CKUT 90.3FM Montreal. The piece centers on and branches out from an episode where Cornell used re-amped radios, accordion, the high frequency hiss of a radiator, and tone generator (operated by Mara Fortes) fluctuating between 20 and 30 Hz. Cornell had previously conducted some tests about the limits of FM radio's frequency response. She found that a carrier wave saturated with a low frequency tone could be used to modulate other sources, functioning like a gate of sorts capable of distorting and cutting out the secondary source. This technique (working with frequencies that fall outside of the optimal range of frequencies the FM carrier wave is capable of reproducing with a certain fidelity) has a muffling effect on the other sounds being sent through the transmission. Cornell hears it as constricting the transmission space and creating a muffled aesthetic that elicits an effort on the listening apparatus. The on-air performance with the tone generator was mixed in with elements from other improvised radio performances, some recorded with instruments, small synthesizers, prayer bowls, field recordings of rocks on a thinly iced pond, cassette tape field recording collage, the metal swinging gate outside the radio studio window.

Addendum to Coincidence Engines (2013)
[The User]
Thomas McIntosh
Emmanuel Madan
Addendum to Coincidence Engines is from a series created in homage to contemporary classical composer, György Ligeti, whose compositions used ideas of indeterminacy and polyrhythms, and who used metronomes not simply to keep musical time, but as generators of sonic events. Small portable clocks of identical design are arrayed and activated one by one. These battery-powered timekeeping devices are among the most generic mass-produced analog clocks available, purchased in wholesale quantity from their manufacturer in Fuzhou, China.It was performed live at Quiet Cue in Berlin in October 2013 using plastic clocks, a metal surface, and contact microphones, and was first broadcast on Kunstradio in György Ligeti’s home country, Austria.

Music for Lamps (2014) 28:00
Adam Basanta
Julien Stein
Max Stein
Music for Lamps is an audiovisual performance group. The trio controls a fleet of lamps discreetly outfitted with surface transducer speakers, turning the lamps into sound emitters. Each lamp may behave as an individual or as part of a larger ensemble, manifesting various behaviours in light and sound. This piece was recorded at a performance by the group at Café Zosha, Montréal, January 15, 2014.

Filter (2014) 13:45
Gambletron
Filter was created as contribution for Alejo Duque's PIRATE BLOCK RADIO project for Eastern Bloc's 2014 Sight and Sound Festival in Montréal. He requested longer pieces from sound artists for web transmission, so Gambletron set up a small multi- tonal radio theremin (consisting of nine AM radios) at Eastern Bloc, and pushed Alejo's web broadcast through her Ramsey AM transmitter, broadcasting Alejo's curation directly through her AM radio theremin drone.

Gambletron constructs the AM radio theremin using between seven and eleven radios. For every two radios she can create one oscillating note. With six radios she can create three notes, and so on… With a seventh radio slightly hacked and modified she controls all the notes generated by the radios by moving her body or hands or a conductive object near the antenna of the controlling radio, very much like the touchless function of a theremin, an early electronic instrument which also utilizes radio technology played with the proximity of the hands to aerials.