Sonntag, 10. Februar 2013, 23:03 - 23:59, Ö1
[ ENGLISH ]

KUNSTRADIO - RADIOKUNST




The Transmuted Signal - curated by Colin Black

A Frequency Oz series produced by Yanna Black


A COPY OF THIS PROGRAM CAN BE ORDERED FROM THE "ORF TONBANDDIENST"
Radio ist Kino im Kopf, sagt man. Beim Zuhören entstehen Bilder in der Vorstellung der Hörerinnen und Hörer, insofern ist das Radio kein rein akustisches Medium, sondern hat auch visuelle Aspekte. Ebenso sind visuelle Medien nicht allein auf die Wahrnehmung von Bildern beschränkt. In diesem Sinn gibt es keine Kommunikationsform, die ausschließlich einen Sinn anspricht. Es gibt nur unterschiedliche Gewichtungen von Standbildern oder bewegten Bildern, von Sprache, Geräuschen, Musik, taktilen und anderen Erfahrungen.
Ausgehend von solchen Überlegungen haben die beiden australischen Künstler Colin und Yanna Black, die das Webradio-Projekt Frequency OZ betreiben, eine Radiokunst-Serie zusammengestellt, deren acht Episoden im Februar und März in Kunstradio-Radiokunst zu hören sind. Zu hören und zu sehen, um genau zu sein, denn es geht bei der Reihe “The Transmuted Signal” eben um die Übersetzung zwischen verschiedenen Modalitäten der Wahrnehmung.
Wesentlich ist dabei, dass die originalgetreue Übersetzung zwischen den Medien weniger von Bedeutung ist, als die Veränderungen eines Originals und Abweichungen von diesem, die mit einem Umwandlungsprozess einhergehen.
Frequency OZ haben insgesamt acht Künstlerinnen und Künstler mit einem Bild konfrontiert, mit einem visuellen Signal also, das es zu verschlüsseln und in eine akustische Form zu bringen galt, sodass die resultierenden Audioversionen miteinander verglichen werden können. Im Anschluss wurden alle Teilnehmerinnen und Teilnehmer dieses künstlerischen Experiments gebeten, das impulsgebende Bild zu zerstören. Das Bild ist allein in seiner auditiven Transmutation erhalten, in Form von acht Hörstücken.
Das Kunstradio sendet diese Stücke im Rahmen der Sendereihe „curated by“, die vorsieht, dass Künstlerinnen und Künstler on air und online Ausstellungen neuer Radiokunst konzipieren und zusammenstellen. In der Vergangenheit wurden dabei ganz unterschiedliche Aspekte der Radiokunst untersucht und herausgearbeitet, stets jedoch wird eine Erweiterung des Hörraums ins Internet und umgekehrt angestrebt. Durch die Beteiligung internationaler Künstler, wie in diesem Fall Frequency OZ aus Australien, werden immer wieder künstlerische Positionen präsentiert, die in Österreich nicht bekannt sind. Die Reihe „The Transmuted Signal“, curated by Frequency OZ, präsentiert Arbeiten von Entoptic, Nigel Helyer, Melanie Herbert, Cat Hope, Lizzie Pogson, Philip Samartzis und von Colin Black selbst. In seinem Stück „Semblance“ („Anschein“) sucht Black die Unsichtbarkeit des Transformationsprozess eines Bildes zu Sound so zu steigern, dass die Vielschichtigkeit des Bildes erhalten bleibt. Freilich ist dies – wie Black rasch erkannte – ein subjektives und von künstlerischem Wollen nicht entleertes Verfahren. Ebenso wie der Prozess der Umwandlung nicht umkehrbar ist.


„Temporal Planes“ (17’04”)

by Entopic

soundPlay


soundStatment of the Artist


Temporal Planes is an improvisation that is performed, recorded and produced by Luke Bozzetto and Daniel Portelli, both of whom make up the Australian duo Entoptic. The creative process for Temporal Planes began firstly with both members having conversations about the given artwork and also detailing ideas for transmuting the non-audio signal (from the artwork) into an original audio work.

Out of these discussions, the notion of communication became of particular interest to both members. Daniel, for instance, focused on different forms of communication, and the connection between modern technologies and primitive written languages that seem to both act as a cultural identifier yet function on similar levels. Luke on the other hand, drew parallels between communication and its role in his practice as an improviser. In particular he focused on the development of an innate musical dialogue that could be developed and shared with other improvisers. Another idea of interest suggested in the art work and transmuted in the audio is when meaning behind symbols or sound objects remain hidden as undecipherable messages to the audience such as not knowing what is being written by the sound of a pen writing

Elsewhere, the phrase “Hear and Now” (which is embedded as text in the artwork) is also significant in the duo’s conceptualisations for Temporal Planes. Daniel notes that:

“The words written on the image ‚hear and now’ to me became anything that involved real-time interaction and “in the moment” activity which included improvisation, writing and playing live instruments with reminisce of an electronic fingerprint.”

Luke also took from the phrase, complimenting Daniel’s thoughts, stating:
“… the phrase seemed to encapsulate, quite succinctly, my thoughts on improvisation. The ‚hear’ represents the concentrated listening a performer partakes in when improvising. Listening has always been an important part of improvising for me; it has helped me develop a certain level of restraint during performances which in turn has enabled me to not contribute to a performance unnecessarily or to force out any responses. The idea of the ‚Now’ embraces the erratic, yet thoughtful, nature of creation and the ensuing responses to such creation within improvisation.”

After discussing the ideas both Luke and Daniel decided on the instrumentation and sources to use. The duo improvised on their ideas on an intuitive level and then refined them in the sound studio. The improvisation involved an amalgamation of electronic and acoustic technologies that included: a snare drum, prepared nylon guitar, laptop processing, assorted array of guitar effects, altered malfunctioned radio, electric guitar, recorder and pen and paper.

The duo utilised a variety of microphones and recording methods which were used to produce different quality recordings, some having loud background noises and hums and others were cleaner by using a direct input recording. This created an artificial ambience that colours the recording. In utilising a variety of microphones and recording methods, Luke and Daniel were able to capture an array of spaces and multi-dimensionalities.



Languid Sigh (27’39”)

by Cat Hope

soundPlay


soundStatment of the Artist


The non-audio signal was of a hand placed on glass, surrounded by strange symbols. The things that interested me in the image where the vivid warm colours of the hand against the black and white background, the intricate patterns that seemed almost transparent yet somehow computer manipulated and unnatural, and the ‘hear and now’ words. I decided to make a work that explored ‘close up’ in three different ways, reflecting the three elements of the image.
 
This work has three source sounds recorded by the artist: a person rowing a small boat in the sea off the coast of Western Australia [recorded from inside the boat], a woman touching herself in front a heater in her home [recorded with a very close microphone], an unamplified bass guitar played with a motor [recorded with a microphone made from a subwoofer built into a drum shell, that recorded the vibrations of the instrument through the resonance of a table].

This mixture of the very personal in the urban setting, juxtaposed with the placement of humans in the bigger picture of nature is framed with a recording of motorised drone. The clarity and seemingly peaceful sound of the water - which was a rather rough sea at the time of recording - contrasts with the strange un-erotic sounds of a hand on flesh and fabric framed by the fan motor of a winter heater. The same kind of motor is used to produce the drone like bass.

The editing creates unusual embedded rhythms and very long period patterns that are difficult to hear as rhythmic. Hope’s interest in the drone and low frequency is reflected in this piece; creating a low frequency drone on an instrument, the almost inaudible drone of a suburban home, the drone of the sea, the possibility of long unfolding patterns.

All recording and editing by Cat Hope.
Sub Mic construction: KFord
Motor bass: KFord.
Boat rowed by Aaron Wyatt
Woman by the heater: Tabatha Purrwell

With Special thanks to Kate MacMillan.

Links:
http://www.frequencyoz.com
http://kunstradio.at/PROJECTS/CURATED_BY/OZ/

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