Looking Back at art@radio
In the early 2000's art@radio invited artists to submit experimental music and sound works to be considered for broadcast. Artists/ musicians who created works which explored concepts of serialism and ultra-rationality, aleatory and anti-rational, musique concrète, chance & non- music, text-sound composition, microtonal, lowercase, sound/noise, synthetic and ambient /space recordings were encouraged to submit.
Content is from the site's 2003-2006 archived pages and other sources offering a notalgic trip back.
...broadcasting on the fringes of sonic expression...
Please include a playlist, dates and any urls you would like included in the arcchive, visual documentation of the event and/or designed instruments along with your submission include ur/emaill of current projects and samples.
Send audio works to:
Steve Bradley, Associate Prof, c/o art@radio
University of Maryland, Baltimore County,
Visual Arts Department, FA111, 1000 Hilltop Circle
Baltimore, Maryland 21250. USA
click on the following link to access iTUNES U with art@radio podcasts.
Send audio works to:
Steve Bradley, Associate Prof.
Visual Arts - art@radio
University of Maryland
Visual Arts Department
FA111, 1000 Hilltop Circle
Baltimore, Maryland 21250. USA
art@radio on the River Hull, England
Hull Time Based Arts, rivercommission
|Audio works were selected based on the theme of the river; environmental, transmigration, sounds of garbage, rubbish and the landfill, river and maritime culture. Thanks to Emily Wilczek who assisted with the project. Dan Van and Norman from Hull Time Based Arts for their insightful technical skills. Ray and John for beer and comic relief.|
London - 7:00 pm GMT
New York City - 2:00 pm
Paris - 8:00 pm
Helsinki - 9:00 pm
Australia - 5:00 am
|NOTE: new mp3 selection of artists works now available.|
12 March , 2002 - Tuesday
1. Carolyn Moore, Underwater at the Main Channel. Sunderland, Massachusetts, USA
2. Adriene Huges, untitled, Stony Brook. Dan Diego, California, USA.
3. Barry Truax, Digital Soundscapes, 5) Riverrun. Cambridge Street Records CSR-CD 8701, Burnaby, British Columbia, Canada.
4. Andra McCartney, Canal de Lachine: Journees sonores, 2002, Montreal, Canada.
5. Keith Bianchi, On the Theme of Toilets, 3) Public No. 1; 4) Public No. 2; 5) Public No. 3, 2002, Hull, England.
6. alku, MMIL, juicio final, principio21, http://personal.ilimit.es/principio, 1998-2002
7. Edward Ruchalski, Oswego River: Off Water Street, Leto Island, Fulton Boat Launch, Syracuse, New York, 2002, 03:30.
8. Herr Stoltenhoff, 2) donau; 3) ostsu. Stuttgart, Germany.
9. Alysse Stepanian & Philip Mantione, the way of water / alysse 9.1, New York, New York.
10. Jonathan Phillips, Mississippi River Streams, Phase I: 3-6-2002, 2 PM - 3 PM. [excerpt] La Jolla, California, USA.
13 March 2002 - Wednesday
1. Brigid Burke, Water Glass and Lemon, 1999. Elsternwich, Australia
2. George F. Spicka, Transmigration, 2002. Baltimore, Maryland
3. Lars-Gunnar Bodin, Wonder-Void: A Text-Sound-Suite, Stockholm, Sweden
4. Steve Heimbecker, Songs of Place: Ile de Montreal , 2001. Montreal, Canada
5. Mark C Graham, A Walk by What Once Was (Theme for the River One), Roswell, New Mexico
6. Juha Valkeapää, Siberian Spring, 2002. Helsinki, Finland
7. Philip Barnes, All Points North, Hull, England.
14 March, Thursday
1. Claude S. Willey, Hydro-Radio, Irvine, California
2. Dave Noyze, Bryen Telko, Tales from the Riverbank and other stories, t-1) The Journey Over Salara; 2) ; 3) AI - Anti: Interactive - Telko; 4) CA Digit 5A - Noyze; 5) Hinton & Son - Noyze; 6) Leeds 4 London 0 - Telko; 7) Optical Allusion - Noyze; 8) Planet of the Ticks - Noyze; 90 Vic20 - Telko, Suffolk, England
3. Sofía Escardó, Darío Lipovich and Miguel Magud, Sin cataforesis, 1) Óxido Ferroso - Sin Cataforesis - 1998; 2) Kjjjjjj - Darío Lipovich, 1999-2000; 3) Herrumbre - Sin Cataforesis, 2000; 4) Ci - Miguel Magud, 2000. Buenos Aires, Argentina
15 March, Friday -
live sound performance in the Live Art Space at the Ferens Art Gallery. We performed live a work called,Sonic Landfill, sounds generated by manipulating found materials from the skips (garbage dumpsters), streets, landfill and tip (distribution site for unwanted goods); rob gawthrop, emily wilczek, espen jensen, john hirst, chris gladwin, kate donovan, gisele bone, bob levene and steve bradley.
21 March, Thursday
1. Benjamin Gwilliam, HUMBERCALL #1, Salford, England
2. Stan Link, Nel Mezzo Del Cammin, Nashville, USA
3. laboiteblanche, Le Chalet, Nice, France
4. Eva Sjuve, Water, New York, USA
5. Giuseppe Rapisarda, Almaquae, Paternò, Italy
6. G K Montgomery, Washing the Hare, New York, USA
7. laboiteblanche, Radiator, Nice, France
22 March, Friday
1. laboiteblanche, Macrowaves, Nice, France
2. Philip Barnes, title to be confirmed, Hull, England
3. Matthew Teigen, Bodysounds, Baltimore, MA, USA
4. Peter Cusack, The Horse was Alive, The Cow Was Dead, London, England
5. Bill Talsma, Ditritus: Radio regurgitation, 1-6. Chicago, Illonios, USA.
FEAR ::-:: art@radio residency
live performance: Friday, 11 July
Listen in LIVE >>
Steve Bradley's involvement with the FEAR residency was conducted on several levels. The first was to develop a deeper understanding of sound that potentially can be generated by altering and amplifying almost any object.
Bradley began by meeting all the participants to discuss their experience, interests and skill base in sound/performance. During the first meeting we created an inventory of all the potential noisemakers and other equipment the participants already have in our possession. Throughout the week Bradley and the participants collected noisemakers from thrift stores, such as toys, objects with potential sound (hand held eggbeaters, can openers, found records and players, etc) and toy musical instruments. Bradley and the participants altered the objects by building and incorporating into the objects contact mics- depending on the interest and level of involvement Bradley introduced the potential of sound from circuit bending found electronic toys. We also spent one day out in the field creating recordings from various locations in the city of Hull incorporated into the final performance.
Finally, at the end of the residency Bradley and the participants developed a structured score and performed live employing the various instruments, field recordings and incorporating various processing techniques.
Since 1998, Steve Bradley has curated art@radio, a net.radio broadcast of sound art and experimental music. Bradley's art practice involves sound performance, time-based media and material culture. He explores the boundaries of urban and suburban culture by collecting debris, sound and images from the consumed and littered landscape from around the globe.
7-11 july: schedule
theFEAR = art@radio
7 July Monday
11:00am (+ -)
Arrive to Hull via Manchester
Meet at HTBA late morning/early afternoon with Ray, review schedule and changes.
Meet with all participants to discuss interests, asses equipment, instruments and other resources we have access to for the week. Also, review resources for the performance? Review schedule and adjust depending on everyone involved. Create a list of tasks to assign to the participants in preparation for the performance. We will need a few participants to work with organizing for the week and more specifically for the day of the performance.
8 July Tuesday
I will begin by discussing my areas of interest: synthesis, field recording, max/msp, electroacustics, circuit bending, performative gesture. I have some handouts to give to participants.
• field recording: discuss and site suggested areas to make recordings; sea port, traffic pattern noises, found conversations, the River Hull, etc
• deep listening / walking tour of Hull 1-2 hours. Bring your recording devices. If folks can share equipment/media that would be helpful. While we are out lets visit some of the thrift stores for noise objects.
• return to HTBA. If time permitting listen to what we captured audio and object wise. Discuss the schedule for Wed.
Short jam session.
9 July Wednesday
Instrumentation and found object. Bring in the instruments and found objects that have been collected and begin experimenting with what is possible with contact mics. Feel free to bring in electronic toys that might be useful for circuit bending. Students who are not so interested in hacking can work with processing their sound files in preparation for Friday’s performance.
Short jam session.
10 July Thursday
Continue working with instruments and hacking them if necessary. Begin burning ambient cds for use with performance.
Work on a visual sonic score. Make copies to distribute to all participants.
Before we leave for the day review everything we will use for the performance on Friday. Make a working list of any needed equipment. Who is in charge of what? Is it feasible to set up the equipment in the space in preparation for Friday? If so, test audio, mixer, speakers and any other audio/computer equipment.
11 July Friday
set up / rehearsal / performance
11:00am if necessary meet to complete any work for the performance.
1-3pm set up
12 July Saturday
follow up documentation session
For more information Please contact :
Hull Time Based Arts
42 High St
Hull HU1 1PS
T: 01482 216446 W:www.Timebase.org
Every Wednesday, 9:00 a.m. EST
DISTURBANCE#1 – [+] Reconstruction
– Guy Van Belle [aka gívan belá]
DISTURBANCE#2 – [+] Disturbance: Surface Noise Across the Chambers of a Wax Heart, Parts: A,D,E,C,G,H,I
– Violet (Jeff Surak)
DISTURBANCE#3 – [+] Shift Coordinate Points
– Esther Venrooy
DISTURBANCE#4 – [+] WTF
– Alberto Gaitán
Well, if you had a disturbance both about your work and about your daily life, what would you do? (John Cage)
Disturbance is a temporary change in environmental, societal or personal conditions that causes a pronounced change in a system. Disturbances can have profound immediate effects on these systems and can, accordingly, greatly alter its surroundings. Because of their impact, the effects can continue for an extended period of time.
Sound in itself is a disturbance that propagates through matter as a wave. It activates us to hear things that we were formerly not aware of and can deeply affect our understanding. Four artists have worked around a particular event that has caused a pronounced change in their personal and/or professional life and transmitted this disturbance through sound.
With: Guy Van Belle, Violet, Esther Venrooy, Alberto Gaitán.
For Sonja Simonyi
17 january 2006
BATTERY - Steve Bradley
November 25, 2006
Projekt zur Förderung der blauen Kunst,
curator, Edda Akkermann
Using piano wire attached to a number of found and altered objects, Bradley drew out hidden sound that is inaudible with the naked ear. Through the use of selective frequency amplification, contact microphones, and processing, he turned the performance space into a micro- visual and sensual sonic experience. Bradley performed along with a video projection, creating a slowly evolving atmospheric space from which the sound emanated. One of the primary processing tools Bradley employs is LiSa developed by STEIM, located in Amsterdam, NL
Bradley’s art practice is interdisciplinary in nature. His focus deals with the invisible aspects of the “everyday,” those mundane moments that quickly fade away with time from our memory.
net.cast :Wednesday November 2
14:00 – 16:00 UTC time, 09:00 a.m. EST, New York, NY; 15:00, Amsterdam; 16:00, Helsinki
live feed:: http://broadcast.umbc.edu:8000/artradio.m3u
1. t1) James Duhamel - Le Radeau (2005/7:59), t2) Martin Bédard - Topographie de la noirceur (2005/3:57), t3) Delphine Measroch - Machin Machine (2005/7:46), t4) Samuel Beaudoin - n'importe quoi (2005/8:00), t5) Ivan Elezovic - Almost there... (2001/6:30), Communaute electroacoustique canadienne (CEC) Canadian Electroacoustic Community Universite Concordia RF-302, 7141 rue Sherbrooke ouest, Montreal QC CANADA H4B 1R6 [ http://www.econtact.ca | http://www.sonus.ca ] << more info: http://cec.concordia.ca/jttp/ >> artist bios: http://art-radio.net/15fall05/JTTP2005.html
2. Sounds Recorded for an Empty Nightclub, Corporation Nightclub, Sheffield, England, in conjunction with Art Sheffield 03, 28 March 2003. A limited edition double CD available from the HOST Artists Group, http://www.hostoffice.org.uk/ | http://www.artsheffield.org/ artists playlist; << here >> <
3. Isthmus, movement 1-3, Adam Stansbie, London, UK
plug into iTUNES for the latest art@radio podcast.....
...sonicity produced by Ian Stewart and Ambrose Seddon...
jamming radiophonic space
EST 13:30-00:00 Friday September 3, 2004
live streaming event sponsered by Kunstradio
Long Night of Radio Art, ACIV TV Studio, UMBC
Kunstradio's Long Night of Radio Art: http://kunstradio.at/
13:30 - 13:50
|djamu, Chris Basile (Australia) & Bill Shewbridge (US)|
13:50 - 14:00
|transported Hillside, S. Bradley|
|Mobile Interventions:: Jago X|
14:30 - 15:00
|Unhinged wifi, CowHand|
15:00 - 15:20
|Jacob Kirkegaard (Denmark)|
15:20 - 16:00
|broken radio, Zsoul|
16:00 - 17:00
|Chance Tunings, S. Bradley (US) & John Hopkins (Lithuania)|
17:00 - 17:15
|The Train by Renee Spencer and Charmetria Wright &
Danielle by AdvoKids (US), uniquely spoken youth / Phaye Poliakoff-Chen
17:15 - 18:00
|art@radio archive; Stan Vanderbeek's Ghost|
18:00 - 19:00
|Mobile Interventions::: Joe Reinsel, C. Eby, Pauline Oliveros, Laura Forlano|
19:00 - 19:30
|tape think : John Hudak, S. Bradley, J. Reinsel (US)|
19:30 - 20:00
|Clinker, Brendan Howell, (US)|
20:00 - 21:00
|Crawl / Knot : John Sturgeon & Tim Nohe (US)|
21:00 - 21:30
|alloradio: Chad Eby (US)|
21:30 - 22:00
|Transmitted Bridges, Jodi Rose, (Austrialia) mix by S. Bradley|
22:00 - 23:00
|Cross Coastal Acoustics, Goeff Bell and Nicole Shiflet (US)|
23:00 - 24:00
|urgent radio radio- S. Bradley, J. Reinsel, C. Eby, T. Nohe, J. Sturgeon, B. Howell (US)|
:: sign off ::