| I | |
| IGES, JOSE | |
| City
of Water (1994)
With Concha Jerez. A sonic visit to the Alhambra—palace of the
Moorish kings in Granada, Spain and one of the most magnificent creations
of Islamic architecture (thirteenth and fourteenth centuries). Traveling
the monument's halls and courtyards, as well as the adjacent gardens
with its fountains and streams, the artist/producers record the sonorities
of the water, the voices of tour guides and visitors, and some of the
Arabic texts and epigraphic poetry that can be found along the garden
paths. Yet this serene and beautiful work is not simply another version
of "acoustic tourism." Rather, it attempts a sonic rebuilding of the
monument, reminiscent of its patterned mosaics. [Listen]
JOSE IGES (Madrid, Spain) is an industrial engineer and a composer. A former member of the Computer Science Seminary (University of Madrid) and of the performance group, ELENFANTE, Iges' compositional activities have been closely linked to radio since the late 1970s. He is the producer of the audio and radio art series Ars Sonora at RNE, Spanish National Radio. CONCHA JEREZ (Madrid, Spain) is an intermedia artist whose visual installations and sound and visual spaces have been presented in individual exhibitions and in group shows throughout Western Europe, in Japan, Mexico, and in the U.S. Some of her art works are part of the permanent collections of the Staatsgalerie Stuttgart, Germany, and the Modernen Kunstmuseum of Norrkoping, Sweden. top |
|
| J | |
| JACKSON,
HOMER JASPERSEN, MALTE JEREZ, CONCHA JOHNSON, TOM JONES, BARNEY JONES, JAKE-ANN JONES, KEVIN JONES, LISA JONES, RHODESSA JOVANOVIC, ARSENIJE JOYCE, DON and NEGATIVLAND JUNGER, PATRICIA |
|
| JACKSON, HOMER | |
| KRS-ONE:
Philosopher (1989)
A hip-hop style music documentary about Kris Parker, widely known as
Blastmaster KRS-ONE. Parker has followed an arduous path to musical
stardom. From his decision to leave home at the age of thirteen to pursue
a musical career, to his struggles as a homeless teen on the New York
streets and the tragic death of his partner DJ Scott La Rock, KRS-ONE
has weathered the scene to become one of hip hop's most powerful and
original voices. KRS-ONE: Philosopher is a vibrant portrait of a musician
who is challenging the bad boy image of the current hip-hop scene by
advocating education and intelligence. Commissioned by NEW AMERICAN
RADIO. [Listen]
Passage (1991) A collage that focuses on the migration of black Americans from the South to the North. Passage examines the migration's physical, metaphysical, psychological, and social aspects and their effects on black communities and the nation as a whole. Stories, music, the voices of elders, excerpts from old newsreels, country blues and urban jazz, the sounds of rural America and of metropolitan areas, poetry, and dramatic skits make this an entertaining and informative work. Commissioned by NEW AMERICAN RADIO. [Listen] White for a Weekend (1991) A comedy drama, speculating on what being white could mean to a non-white. The story follows the misadventures of Bobby Burnett, a young black sales representative who becomes a winning contestant in the bizarre game show, "White for a Weekend." More than simply a revamped reversal of "Black Like Me," the work touches on social, economic, cultural, and sexual myths, and the realities of contemporary race relations. Commissioned by NEW AMERICAN RADIO. [Listen] HOMER JACKSON (Philadelphia, PA) is an interdisciplinary artist with a background in teaching and social service. He uses images, sounds, text, live performance, video, audience participation and found objects to tell stories and to teach. His work includes multi-media music performance works such as The Three Willies, Yacub: Mad Scientist or Genius, Affirmative Actions, Blues & The Naked Truth, the live planetarium performance Dogon PM, sound/radio theater works such as Passage, White for A Weekend, The Perfect Pitch and multimedia installations such as Can’t Trust a Big Butt & A Smile: Rethinking the Legend of Mami Wota, Why Malcolm Had To Read and High Flying. A BFA graduate of the Philadelphia College of Art Jackson holds a MFA from Temple University's Tyler School of Art. He has performed, produced, presented or exhibited works at New American Radio, Philadelphia Art Alliance, Nexus Gallery, Moore College of Art, Yellow Springs Institute, the Painted Bride Arts Center, Taller Puertorriqueno and the Institute of Contemporary Art in Philadelphia; at Hallwalls Arts Center in Buffalo, Intermedia Arts in Minneapolis, WGBH FM in Boston, Smithsonian Institute Traveling Exhibition, Art Center/South Florida in Miami Beach, Maryland Art Place in Baltimore, the Kitchen, Art In General and Aaron Davis Hall in New York City and Delaware Center for the Contemporary Arts in Wilmington. His work has received the generous support the Pew Fellowships in the Arts, The Rockefeller Foundation, Pennsylvania Council on the Arts, National Endowment for the Arts, The Funding Exchange, Art Matters, and Franklin Furnace Fund For Performance Art among others.. Jackson currently serves as the publisher and editor of the artists’ newsletter, Shine: Conversations Between Artists. top |
|
| JASPERSEN, MALTE | |
| Water
Dripping in a Dish (1995) is an impressionistic
sound portrait of the city of Kyoto, Japan, a modern metropolis with twelve
hundred years of history. Water dripping through a bamboo cane pneumatic
drills the cacophony of amusement arcades moments of devotion,
reflection and silence - all shape an acoustic world that is surprising and enticing. "Water Dripping in a Dish" does not fall into the familiar trap of 'acoustic tourism'. Rather it is an invitation to hear with new ears, reminding listeners that the meaning of sound is indeed rooted in history and a particular place. Winner of a Special Commendation at the international Prix Futura Berlin competition in 1995. NEW AMERICAN RADIO presents an abbreviated version of the original 45 minute work. [Listen] MALTE JASPERSEN (Kyoto, Japan) was born and raised in Germany where he studied law and theater. Until 1986 he was member of the international theater group, "Drugie Studio Wroclawskie" in Poland. One year later he founded the theater project ³Kuppel & Jaspersen² which toured Europe and Japan. In 1989 Jaspersen moved to Kyoto where he studied Noh theater and Noh mask carving from the master player Michishige Udaka. Still at home in Kyoto, he has produced several major documentaries for German public broadcasters, including work on water, geishas and Japanese comics. top |
|
| JEREZ, CONCHA | |
| See Iges, Jose, "The City of Water." top | |
| JOHNSON, TOM | |
| Piano
Problems (1988) With producer
Kaye Mortley. At age forty Johnson, already a respected music critic
and recognized "minimal" composer, discovered his true passion: counting.
Since that moment, he has composed only music that operates with logical
and predictable sequences. His radio plays for German, French, and Australian
radio are based on the same principle. They are examples of what might
be called humorous dramatic exercises in musical counting, designed
to help the listener understand the inner logic of musical structure.
"Problem 4: Suppose that a series of melodies are released at a height
of two octaves and are allowed to fall with gravity. Eventually they
begin to pile up at ground level, just like sand, or apples, or anything
else would. What would the pile sound like after fifteen melodies have
fallen? Piano Problems was produced at Radio France for the Australian
Broadcasting Corporation.
Born in Greely, Colorado, TOM JOHNSON lived and worked in New York City until 1983. A student of Elliot Carter and Morton Feldman, his musical work and his music criticism, which was published weekly in the Village Voice, established him firmly in the contemporary/ new music world. Johnson moved to Paris in l983, where he continues to write music, and where he also composes for radio. top |
|
| JONES, BARNEY | |
| See Earwax Productions, "Audiographs -- Songs From the Tenderloin," "Ecomania, Parts 1 & 2," and "Wake for Tom." top | |
| JONES, JAKE-ANN | |
| Juno,
the Universal Power Chile (1995)
Juno, the "Universal Pioneer Chile" travels through space in her soul-saucer,
The Sassy Sarah, to battle the evil Dr. Ranzeck's Galaxy Colonization
Plan. Commissioned by NEW AMERICAN RADIO.
JAKE-ANN JONES (New York, NY) is a performer/writer, whose credits include the mixed media play Eclipse in Bottomsville; an acting role in Spike Lee's film, Malcolm X; and afro-funky performance evenings of cabaret, music, and poetry at Dixon Place, Nuyorican Poets Cafe, and other New York City venues, which she co-produced and co-curated. JONES is a 1993-94 resident artist at Mabou Mines. top |
|
| JONES, KEVIN | |
| Discardia
#1 (1992) The first section of
The Discardia Report—a suite of works for radio which use the voice
and spoken word as the vehicle for the exploration of the human condition
and the struggle of individuals to find meaning in their lives. Discardia
#1 uses the voice of Heather Ehlers along with sound effects and electro-acoustic
sounds to create an amorphous, ever-changing soundscape within which
the voice can reside. The primary dramatic element here is the contrast
between the world of reason and a world of uncertainty, in which meaning
is as fluid as the soundscape in which it occurs.
Glancing Blows (1989) A work that explores the difference between language as a generator of images and language as pure sound material. The piece creates an audio world of its own—spaces into and out of which its characters move, trying to express themselves while at the same time they try to be a part of an audio environment that is always changing. In Glancing Blows nothing is stable, everything is in a state of flux. Commissioned by NEW AMERICAN RADIO. Imaginary Portraits #1 and #2 (1990) The first parts of a trilogy of works for radio that use a single voice as the sole source for the entire composition. Imaginary Portrait #1 is made entirely from the voice of vocalist Jill Burton. #2 is made from the voice of actor Rob Donaldson. In both, the source recordings are mixed, edited, processed, and manipulated using sampling techniques to construct the final pieces. Spatial placement both in the stereo field and in changing foreground-background relationships adds a sense of motion to these pieces. The WNYC Project and Imaginary Portrait #1 (1989) In 1988 composer and audio artist Kevin Jones did an on-air interview with WNYC's Lucy Sumner in which they discussed Jones's text-sound compositions. The interview was recorded. Jones subsequently cut it up, processed and repeated parts of it and produced a piece that is a Jones composition, that talks about Jones's compositions and that demonstrates how Jones makes a composition. KEVIN JONES (Brooklyn, NY) studied composition at the New England Conservatory for Music in Boston, and computer music at M.I.T. in Cambridge. He now lives and works in New York City, where he collaborates on large scale music/dance/ theater works with choreographer Theresa Reeves and pursues his own writing, installation work and compositions. top |
|
| JONES, LISA | |
| Aunt
Aida's Hand (1989) With performer/ composer
Alva Rogers. Stories about two black women trying to piece together
family legends and their cultural history. Neither women have mothers.
And since the history of women is largely passed down by women, they
must seek out other female relatives. Aunt Aida lives on a farm in North
Carolina and is struggling to hold onto her house -- the repository
of her family history -- though day by day she is losing her memory.
Commissioned by NEW AMERICAN RADIO. [Listen]
Ethnic Cleansing (1993) A surreal satire that begins as a fireside chat but quickly leaps out of the frame to become real. It addresses the question: What would happen if an ethnic-racial "cleansing movement" took hold in America? First there's a racial mix-up in a local sperm bank -- then there's a full-scale civil war. With an exciting cast of young New York performers; sound design and original music by hip-hop composer Guido Osorio. Commissioned by NEW AMERICAN RADIO. [Listen] Stained (1991) With performer/composer Alva Rogers. A fury of passion, then a sudden loss and all that's left is the music. A woman is haunted by music she associates with a lover who disappeared without explanation at the height of their love affair. The piece looks at how much our memory and emotions are linked with music. Commissioned by NEW AMERICAN RADIO. [Listen] LISA JONES (Brooklyn, NY) is a playwright, journalist, and author. She won a Bessie Award for the stage adaptation of Stained, her musical-theater collaboration with Alva Rogers, most recently produced at the African American Art Festival in June 1995. Her play Combination Skin, which was premiered at the Company One Theater in Hartford, Connecticut in 1992, has been staged around the country. Her work is included in a new anthology of contemporary plays by women of color to be published by Routledge Press in early 1996. Jones contributes to the Village Voice, Essence, and Vibe. A collection of her essays, Bulletproof Diva: Tales of Race, Sex, and Hair, was published by Doubleday. ALVA ROGERS (Brooklyn, NY) Collaborated on Aunt Aida's Hand and Stained. Rogers is a writer/performer, who has been active in the downtown New York City scene since 1986. Called New York's "Down Diva" by the Village Voice, Rogers addresses the issues of race and gender with uncanny wit and directness, and draws upon musical styles ranging from jazz to gospel, blues to funk. The New York Times has described her as " . . . a natural mimic, brilliantly funny and acidic in her portrayals." She has performed at many of New York's major venues, including P.S. 122, The Kitchen, The Knitting Factory, and Central Park's Summer Stage series. She recently received an M.F.A. as a book writer/lyricist in musical theater writing from New York University's Tisch School of the Arts. She is a recipient of the Dance Theatre Workshop New York Dance and Performance Bessie Award (1995) as co-creator of the stage adaptation of Stained. top |
|
| JONES, RHODESSA | |
| Big
Butt Girls, Hard-Headed Women (1993)
With composer/ performer Idris Ackamoor. Based on the powerful one-woman
performance Jones toured in 1991-92. The story follows the real-life
adventures and misadventures of an artist hired by the California Arts
Council to teach "aerobics" in San Francisco's city jail. While teaching
there she meets and hears the horrifying, dangerous, and sometimes profoundly
touching stories of the incarcerated women. Jones' portrayal is an intense
and moving tour-de-force. Commissioned by NEW AMERICAN RADIO. [Listen]
RHODESSA JONES (San Francisco, CA) is an actress, singer, and writer who has been active in San Francisco's performing arts community for many years. Recent performances include The Mother of Three Sons with choreography and staging by Bill T. Jones, libretto by Ann T. Green and music by Leroy Jenkins (Grand Opera, Houston, TX, 1992); and Reality is Just Outside the Window (Theater Artaud, San Francisco, 1992). In 1990 Jones founded The Media Project, a program to promote incarcerated women's self-awareness and self-esteem through the creation and production of theater pieces based on their personal histories. IDRIS ACKAMOOR (San Francisco, CA) is a composer and performer whose work is rooted in the artistic principles embodied in the music, theater, and dance he encountered in his travels to Africa in the 1970s. His works include collaborations with choreographer Bill T. Jones, playwright Ed Bullen, musician Don Moye and performer Rhodessa Jones. Ackamoor has toured the Uniited States, Europe and Japan for the last twelve years. He recently premiered a collaboration with Rhodessa Jones, Ed Bullen, and rock musician/composer Vernon Reid, called Emergency Report, which is based on materials derived from the life stories of participating at-risk inner city youth. top |
|
| JOVANOVIC, ARSENIJE | |
| Formula
I—the Art of Speed (1995)
(12:40) A radiophonic composition that deals with speed in the twentieth
century. The piece makes a connection between the famous manifesto of
the Italian futurists, which ranks the beauty of a modern race car higher
than the classical beauty of the "winged victory of Samothrace," and
our own time with its continuing obsession with cars and speed. Formula
I was produced for the series Kunstradio at ORF, Austria, in 1994. (#41,95
with Gautier and Zwedberg)
Klavierabtasten (1992) An intimate, contemplative sound composition developed during a workshop at Austrian radio (ORF) in 1990. "I entered the studio, closed the door and looked around. Somewhere in a corner there was an old battered piano which I approached as if it were a living being. Scattered stones came to life like animals in a cage. For the third section of the work called "Skin," I tried to become as conscious of my body as possible, and the sounds evolved, as if by themselves . . . " (Jovanovic) Cut into this work are short audio art pieces by Canadian radio/audio artist Christof Migone. Taken from Migone's The Transpiring Transistor, these short works were inspired by texts from Ecrits Bruts (France 1979)—writings of the insane. Roadside Tombstones (1970) With Enriko Josif. A powerful and moving "ritualistic commemorative service to the victims of war and to a nation in the agony of death." (Jovanovic) A drama without a plot; an oratorio; authentic literature and original music; inscriptions from roadside tombstones. [Listen] The Prophecy From the Village of Kremna (1990) A million voices raised in protest and other sounds recorded live in Belgrade and the surrounding country, are the materials of this unusual sound composition on the 1989 90 ethnic and political uprisings in Yugoslavia. Commissioned by NEW AMERICAN RADIO. ARSENIJE JOVANOVIC (Belgrade, Serbia) is a former professor of dramatic arts, and the award-winning director of over 100 plays for theater, television, and radio. One of the best known radio artists in Europe, his credits include commissions from the WDR Cologne, Germany; RAI, Italy; and the ABC, Australia. Jovanovic has been awarded a prestigious PRIX ITALIA award and numerous other international prizes. top |
|
| JOYCE, DON and NEGATIVLAND | |
| Advertising
Secrets (1991)
A dynamic blend of rhythmic elements and original audio constructs—actual
ad jingles, lines and phrases—commentary by and about advertisers—books
on tape materials about how commercials are conceived and created—plus
various out-takes from commercial productions which depict the sophisticated
process (and elaborate cynicism) of the professionals involved. "My
motivation is to inspect and depict some of the paradoxical aspects
of media advertisement which both attract and repel me as an artist
in America—a society whose entire economic well being rests solely
on consumerism and the need to manufacture want." (Joyce) Commissioned
by NEW AMERICAN RADIO. [Listen]
Guns! (1989) A dense, pulsing "action song" whose verses deal with America's intimate relation ship with firearms: "The gun and the Bible carved this nation out of the wilderness," a man exclaims. A tradition unfolds that links the voices of the past as we know them through television cowboy movies and gangster films, to the modern Annie-Get Your-Gun, the business woman of the 'eighties with her handy sub-machine gun. An evolving patchwork of movie excerpts and TV ads, statements and information about guns, and certain phrases repeated like bullets. Commissioned by NEW AMERICAN RADIO. [Listen] A Piddle Diddle Disneyland, Part 1 & 2 (1994) An edited two-part version of a special edition of the long-running "Piddle Diddle Report"—an "in depth report on current issues of substance" produced by the American Broadcasting System (ABS). This Piddle Diddle special brings us live and remote to Disneyland in Anaheim, California, where a communicastor's booth has been built high atop the slightly swaying, but structurally reliable Matterhorn. The occasion: an all-night gala to celebrate the opening of a huge parking garage just outside the park, a beautiful structure with its own exit off the freeway. From their privileged position, hosts Doug Piddle and Peter Diddle along with the Weatherman and Rex Everything (the famous but unpublishable author) draw an animated picture of the past, present, and future of this amusing amazement area. Time Zones (1990) A radio talk-show approach to the question: how many time zones are there in the Soviet Union? DON JOYCE (Oakland, CA) Joyce has been working in radio since 1976. He is the producer of the late night show Over The Edge, in which he and other Negativland members (Mark Hosler, Chris Grigg, David Willis, Richard Lyons) use the entire studio as an instrument to produce a weekly session of live spontaneous sound combustion. Over the last decade Negativland has developed a variety of collaborative and listener interactive ways of presenting their noise/rock/found sound/sound animation compositions, including Radio Teletours "from our house to yours—phone charges only." top |
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| JUNGER, PATRICIA | |
| Transmitter - First To Second Nature/From Riverbed to Flooding (1998) is the broadcast version of a large-scale site-specific sound event that was premiered in Basel, Switzerland, in 1996. The concept: The Rhine river as an instrument of public space. The construction: 10 microphones with different characteristics captured the sounds of the river above water and along its banks. In addition, divers supplied sounds using 4 hydrophon microphones at different levels in the rivers. Then, a 175 yard long tlHear-Promenade" was constructed along the right bank of the Rhine by installing 48 loudspeakers and 18 subwoofers to allow visitors to hear the sounding, virtual river alongside its analog reality. A boat carried well-known actress Christa Ludwig back and forth between the two bridges that marked the beginning and end of the acoustic promenade, adding her reading of literary texts to the overall mix. In this digital studio work, the Rhine emerges as a beautifully subtle, expressive and complex sound-music river of sound. NO ARTIST BIO available at this time. |
|
| K | |
| KAPFER, HERBERT KARLSSON, ERIK MIKAEL KENNY, MAURICE KIELTYKA, CONNIE KIM, JIN HI KOPETSKY, HELMUT KOPTIUCH, KRISTIN KUBO, MAYAKO KUIVILA, RON |
|
| KARLSSON, ERIK MIKAEL | |
| Epitaphe pour Iqbal Masih (10:21) by Erik Mikael Karlsson. In memory of the twelve-year old Pakistani boy who was sold at age four to a weaving mill where he was kept chained up for the best part of the next six years. When he was ten years old, Iqbal managed to flee. He then took part in the fight against child labor until he was shot two years later, in 1995, while out cycling with some friends in his home village. ERIK MIKAEL KARLSSON (Stockholm, Sweden) is one of Europe's most promising young composers of electroacoustic music. Born in 1967, he has created work for the Swedish Broadcasting Company; La Muse en Circuit in Paris, France; Elektronisches Studio at the Technical University in Berlin, Germany; and the Institute for Electroacoustic Music in Aarhus, Denmark, among others. |
|
| KAPFER, HERBERT | |
| See Bassenge, Ulrich, "Euroanthem." top | |
| KENNY, MAURICE | |
| Dug-Out
(1990) With original sound score by Helen Thorington. In 1984 when
two dug-out canoes were unearthed on a private estate in Malone, New
York, it was a very special occasion for the Mohawk Indian Nation at
Akwesasne. These two artifacts preserved for 400-500 years in the mud
of the Malone pond, were the oldest known artifacts linking the Mohawks
to their past. Deeply moved by their excavation, and the subsequent
unsuccessful effort to place the dug-outs in the Indian Museum at Akwesasne,
Native American poet Maurice Kenny wrote an epic poem that serves as
the textual base for this radio work. His performance evokes the past
of the Mohawk Nation and its present. As history, family, ritual and
nature merge in Kenny's poem, so do voices, sounds and music in the
production. Commissioned by NEW AMERICAN RADIO. [Listen]
MAURICE KENNY (Saranac Lake, NY) was born in 1929 of a Seneca mother and a Canadian Mohawk father. In the 1950s, he moved from his native North Country to Brooklyn, where he first taught at the Mary Taracai School of Drama, and later co-edited the poetry journal Contact II, and became publisher of Strawberry Press. Many of his volumes of poems originated in Brooklyn, among them "Blackrobe" (1982) and "Is Summer This Bear" (1985). Twice nominated for the Pulitzer Prize, Kenny is the winner of the prestigious American Book Award, the Boston Globe Award, and the William Carlos Williams Award. He is currently living in Saranac Lake, NY. top |
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| KIELTYKA, CONNIE | |
| World
Sounds (1989)
A digital journey into the soundscapes of Third World countries. The
opening section focuses on Kenya, moves slowly through the jungle to
a small village where the ritual drums of initiation beat throughout
the night, then rises with the sounds of morning to journey on to Nairobi
and its urban environment. The second section focuses on transportation
and the ease with which it is possible to move from one remote location
to another -- from the Brazilian jungle to Hong Kong, from Hong Kong
to Nepal -- the world at our fingertips, world sounds in our ears. Commissioned
by NEW AMERICAN RADIO.
Sound engineer, recordist and production consultant, CONNIE KIELTYKA (NY) has worked with an impressive number of radio producers and new music composers. Her credits include work for Tom Lopez, John Cage, Pauline Oliveros, and Steve Reich as well as live remote broadcasts for WNYC-FM (New York) and the Ars Electronica festival in Linz, Austria. In 1986 she joined the Godfrey Reggio/Phillp Glass film team as a sound location recordist for a six month worldwide film shoot of Powaqqatsi. Her radio piece World Sounds is based on sounds recorded during that trip. top |
|
| KIM, JIN HI | |
| See Celli, Joseph, "World Soundprint: Pacific." top | |
| KOPETSKY, HELMUT | |
| Europoly,
Parts 1 & 2 (1990) by German documentarian Helmut Kopetzky
with composer Michael Maria Kammertons is a marvelously produced tone-composition
of continental proportions that took three years to complete. With the
help of sound materials sent by colleagues from radio stations all over
Europe, a virtual Europe was to arise - giving flesh to the theoretical
concept of a new Europe and bureaucrats had been toiling over for years.
Finally the realization dawned: there is no single formula for a new
Europe! Europe already lives, in a vibrant, chaotic, post-modern Babel. Europoly is a document about its own development: a cheerful and occasionally desperate game made up of acoustic expressions of life in Europe that arrived on tape and in letters - including lists of materials, clever thoughts and crazy ideas. Unlike anything you may have heard on air in the U.S. [Listen Part 1] [Listen Part 2] HELMUT KOPETSKY (Berlin, Germany) A former newspaper journalist and editor, Kopetsky has worked as a freelance producer and editor for radio and television since 1972. He was staff editor in the Sender Freies Berlin Feature Department from 1994 -1998. He has more than 100 full-length documentaries to his credit, and many awards, including 2 Prix Futuras, two Prix Europas, three Premio Ondas, an Ohio State Award and a Japan Prize. He has conducted feature workshops in New York, Brazil, Kenya, Poland, Holland, The Czech Republic. Mexico, Ecuador, Romania, Great Britain and other countries; and he has lectured at Leipzig University. Kopetsky lives with his wife, Heidi, in Berlin, where they run their own digital studio. Collaborator: MICHAEL MARIA KAMMERTONS (Berlin, Germany) Kammertons was born in 1949 in Bochum, Germany. After studies in architecture and comparative music science, he began creating compositions, sound installations and art objects. Radio broadcasts with the group "audionauts" of Radio 100 in Berlin followed in 1987 and 1988. Kammertons has also presented performances and created stage sets and exhibitions in France, Germany, Scotland, Sweden, Turkey and Turkmenistan. top |
|
| KOPTIUCH, KRISTIN | |
| See Negron, Frances, "Third World U.S.A.: First Stop, Philadelphia." top |
|
| KUBO, MAYAKO | |
| I
Am 99 Years Old (1989)
A multi-layered and multi-textured collage with two narrative strains:
people's voices stating their age, from 99 years down to 1 year of age,
and moving towards 99 years again; and interview excerpts that speak
about the volatile dynamics of family life and relations. Though musically
"fractured," this work builds to an amazingly clear and single listening
experience: a sense of our shared humanity. Produced for radio station
Sender Freies Berlin, Germany. [Listen]
MAYAKO KUBO (Berlin/Rome ) is a sound artist from Japan. Her radiophonic works include Mothers Children Lovers People (independent production, Germany, 1988) and Father! Song of a Lost Figure (SFB/SR, Germany, 1992). The main thrust of her work is the artistic exploration of family relations, the experience of Japanese immigrants in Europe, and a (critical) discussion of contemporary Japanese society. top |
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| KUIVILA, RON | |
| Hearing
Things (1991)
Uses music, interviews, and other sonic specimens in a meditation on
the unheard and the unhearable. An example of unheard sound is found
in the 5 Hertz chirp produced at irregular intervals by the Tappan Zee
Bridge. More figuratively, there is the Foley artist, who carefully
crafts "misheard" sound effects. And, on the most abstract level, there
is the contingency of "musical meaning." What, for instance, is hidden
in the Kreutzer Sonata that it could trigger marital rape on the part
of both Tolstoy and Mahler? What in Brahms, that it could render a parking
lot mugger free? And what in Easy Listening, that it could empty a 7-11
of punk teenagers? Commissioned by NEW AMERICAN RADIO. [Listen]
RON KUIVILA (Middletown, CT) composes music and designs sound installations that revolve around the unusual homemade and home modified electronic instruments he designs. He pioneered the use of ultrasound and sound sampling in live performance. More recent pieces have explored compositional algorithms, speech synthesis and high voltage phenomena. His sound installations have worked with the same materials. For example: Radio Arcs, a sound installation commissioned by Ars Electronica in Linz, Austria, includes the coordination of ninety-six stun guns. Kuivila has performed and exhibited throughout the United States, Canada and Europe. He has collaborated with other composers, artists, and choreographers, including Anthony Buxton, Rudi Burckhardt, Merce Cunningham, Hugh Davies, and Susan Foster. top |
|
| L | |
| LAAKSO,
MIKKO LADD, MICHAEL LANDER, DAN LAPPI, PEKKA LAWRENCE, DAVID LE PRADO, CECILE LEVIN, ELLIOT LIIMATAINEN, JUHANI LIKAR, IGOR LINDBERG, MAGNUS LOCKWOOD, ANNEA LOKTEV, JULIA LOPEZ, TOM LUDWIG, MEREDITH |
|
| LAAKSO, MIKKO | |
| Northern
Lights—Aurora Borealis (1995)
(9:18) A beautiful sound-music work that reverberates with images of
the North: reindeer bells, the sounds of Sami reindeer herders, a wood
fire, and sounds of the forest: such as, birds, wolves . . . Close your
eyes and Northern Lights will conjure up in front of your inner eye,
the magical, high-altitude, many-colored, flashing luminosity known
as aurora borealis. Commissioned by the Finnish Broadcasting Company
(YLE). My Whale Is Still Alive (9:30) is created from the sounds of water, whales, wind and musical instruments. "My life, food and medicine: my whale. As long as my whale is well and alive so am I. My whale is still alive." MIKKO LAAKSO has worked in television sound and as a sound supervisor for twenty years. Since 1981, he's been a sound designer and creator of sound effects for Special Projects at Yleisradio. See also Toiviainen, Ilkka, "Letters From the Front." top |
|
| LADD, MICHAEL | |
| Tracks
and Traces (1994)
An exploration of 'non-linear' structure, i.e. the tangential linking
of ideas and emotions through words and sounds. Each of the loosely
related sound works deals in its own way with following trails, tracking
things down, reassembling the past from evidence left behind. The work
includes an actual recording of the producer's attempt to walk a straight
line through his own suburb, a composition made from sounds taken from
a tape found in the sea, and a tracing in sound of a childhood valley
by means of recording the natural reverberations of steam whistles.
Produced for The Listening Room, Australian Broadcasting Corporation.
MICHAEL LADD was born in Berkeley, California in 1959, but grew up in the hills near Adelaide, South Australia. He studied poetry and philosophy, and in 1980 formed the poetry performance group, The Drum Poets. Ladd joined the Australian Broadcasting Corporation (ABC) in 1983 as a trainee sound engineer and has since gone on to produce features, dramas, and poetry specials. top |
|
| LANDER, DAN | |
| Here Comes Everybody (2:15), with Gregory Whitehead, is a seductive (ly) ironic comment on radio and its gurus. Premiered live over a telephone line. MOTPIKHO: mostofthepeopleIknowhaveone (1989) This project began on the producer's thirty-fourth birthday and involved the recording of his travels to and from work for thiry-four days. Reversing the customary function of the "walkman," Lander absorbed the sounds of his environment, while others around him used it as a playback system to mask those sound. Later all the journeys were mixed down into a stereo composition. In Lander's own words, MOTPIKHO is about "marking time, the compression of experience, the documentation of a specific sonic environment, and the obsession with data collection and presentation. It is also about the noisy business of getting where we're going." Talking to a Loudspeaker (1989) Recorded in the comfort of the artist's own home, the work offers a humorous challenge to traditional notions of radio production. In a series of short sketches, Lander pokes fun at the radio call-in show; the place of music in broadcasting; radio's "commercial" values; balance in news reporting; and the notion of "broadcast quality." A light-hearted work that reflects the artist's love hate relationship with the medium, Talking to a Loudspeaker also asks important questions about the listener's relationship to radio. Commissioned by NEW AMERICAN RADIO. [Listen] Talking to a Loudspeaker, Part 2 (1991) Further explores the contradictions inherent in our attitudes as radio listeners and producers. The work is made up of short vignettes that investigate the saturation of the airwaves; state regulations; audience research tactics, the question of objective information; the disembodied voice; and access to the airwaves. While humorous in its approach to radio, Talking To A Loudspeaker, Part 2 also comprises a critique of the radio we hear and seriously contemplates a radio we might like to hear. Commissioned by NEW AMERICAN RADIO. DAN LANDER (Toronto, Canada) received his education at Nova Scotia College of Arts and Design. Since then, he has become one of Canada's leading audio/radio artists and critics. His audio work has been heard in Europe, the U.S., New Zealand, and throughout Canada. Lander has had his own radio/audio art show on CKLN-FM, Toronto, and has involved himself with such innovative ventures as "Radia"—a month-long radio project broadcast from the Banff Centre for the Arts in Alberta (1989). Lander is the co-editor of an anthology on the use of sound by visual artists, Sound by Artists. top |
|
| LAPPI, PEKKA | |
| See Huhtamaki, Harri, "Calewalayana." top |
|
| LAWRENCE, DAVID | |
| See Earwax Productions, "Virtual Paradise -- The Reality Tape." top |
|
| LE PRADO, CECILE | |
| Navigation
(1994-95) (13:25) A musical navigation/travel
notebook/log that leads the listener through different areas of Paris.
In the words of the artist: "Grope one's way along, quietly. To listen.
To discover a landscape. To approach. Hear it disappear and find oneself
alone. And then let oneself be snatched by the swell. And then let oneself
be invaded by voices. And then silence. Sensations engulfed by the wind."
Produced for Atelier de Creation Radiophonique, Radio France.
CECILE LE PRADO Biography unavailable. top |
|
| LEVIN, ELLIOT | |
| A
Gift of Ghosts (1990)
A real fantasy of fantastic reality realized through the ever growing
minds-souls-spirits-world beat-sound of Philadelphia. This program grew
out of fifteen years of documenting performance poetry. It's a vibrant,
energetic "jam session" of poets who perform their work musically—
using their voices, other instruments, and various acoustically and
electronically generated sounds to complement and dramatize the text
of their poetry. Commissioned by NEW AMERICAN RADIO.
Postcards from the Edge of the Road (1993) Explores the concept of international "audio postcards" as a series of mini poetry-prose-music sound compositions. Recorded with poets and musicians who are native or long time residents of the areas described. The work features postcards from Columbus, Ohio; Pittsburgh, Pennsylvania; Indianapolis, Indiana; Louisville, Kentucky; Montreal, Canada; Zurich, Switzerland; Tijuana, Mexico; San Rafael and Los Angeles, California; and Yokahama, Japan. Commissioned by NEW AMERICAN RADIO. ELLIOT LEVIN (Philadelphia, PA) studied music and creative writing at the University of Oregon. Additional studies followed with Michael Guerra, jazz great Cecil Taylor, and flutist Claire Pollin. Levin has performed original poetry and music throughout the U.S., Canada, and Europe. He has also performed with such diverse ensembles as Cecil Taylor's Unit Core Group. Gunter Hampel's Big Band, Bill Haley's Comets, and Iltar. top |
|
| LIIMATAINEN, JUHANI | |
| See Lindberg, Magnus, "Faust." top |
|
| LIKAR, IGOR | |
| Dance
with a Stone (1990) The first
part in a tri-part sound composition called "Soundings of a Mountain."
As the title suggests, all the sound elements of which this work is
composed were recorded during a climb with mountaineers Andrej Debec
and Igor Likar of the Kogel, a mountain in the Slovene Alps in 1990:
gravel under the climbers' feet . . . breathing . . . the climbers'
equipment. They are shaped into a sound-music composition that evokes
a sense of the "rhythm" of the mountain itself.
IGOR LIKAR (Slovenia) Biography unavailable. top |
|
| LINDBERG, MAGNUS | |
| Faust
(1985-86) With Juha Siltanen, and Juhani Liimatainen of Finland. A radiophonic
composition commissioned by Finnish National Radio in 1985, winner of
the prestigious PRIX ITALIA Award for Music the following year. The
work is presented in Finnish and English. Faust is about the process
of searching for beauty in the impossible. The story is about a ship
and its departure and arrival at "the burning city built in the sea."
Soundscapes, improvisational music, and a stream-of-consciousness text
shape a kind of play without a plot, its polished surfaces concealing
an astonishing, enigmatic world.
MAGNUS LINDBERG (Helsinki, Finland) studied composition at the Sibelius Academy in Helsinki; with Vinko Globokar in Paris. He also attended Franco Donatoni's master classes in Siena. His work KRAFT received the prestigious Nordic Music Prize in 1987. Collaborators: JUHANI LIIMATAINEN (Helsinki, Finland) has worked with sound since the mid-seventies. He has worked internationally with live-electronic music groups, performance art groups, and in opera and ballet productions as a sound engineer and a teacher. For many years he's been on the staff at Yleisradio, Finland, where his realizations have won him several international awards, including two PRIX ITALIA's (1986 and '88). JUHA SILTANEN (Helsinki, Finland) is a playwright and librettist whose work comprises numerous musical productions, film scripts, and essays. He has also directed many radio programs and translated several productions into Finnish. top |
|
| LOCKWOOD, ANNEA | |
| World Rhythms (1997) is a sound meditation on energies that shape us and our environment constantly - energies of which we are not always aware, but which powerfully influence and interact with the rhythms of our bodies. The sounds of geysers and mud pools, of volcanic eruptions, earthquakes, waves, peepers, radio waves from a pulsar and human breathing are physical manifestations of such energies. In the words of the artist: "They have their own intrinsic patterns, and are also interactive with one another." World Rhythms explores the intuition that such rhythms are components of one vast rhythm. It features the composer on tam-tam played in response to her own inner continuum, a form of bio-rhythm. ANNEA LOCKWOOD (Crompond, NY) was born in New Zealand. She moved to Europe in 1961, where she studied at the Royal College of Music and the Cologne Musikhochschule. In the mid-60s, Lockwood turned to electronics, mixed-media and ultimately to the exploration of natural acoustic sounds. She moved to the US in 1973, and silice has toured frequently in this country, Europe and Australasia. In the past decade, Lockwood turned again to instrumental and vocal writing. Recent works include "Shapeshifter", premiered by the American Symphony Chamber Orchestra in 1996 and "Monkey Trips", created in collaboration with the California E.A.R. Unit. She is on the music faculty at Vassar College. |
|
| LOKTEV, JULIA | |
| Eating
in Tongues (1992)
With Nancy Steadman. An audio dinner that plays with the juncture of
food, language, and sexuality on the tip of the tongue, where words
are savored as if they were succulent chicken breasts. A four-course
meal devoured blindfolded, the secrets of a recipe, the lonesome twang
of a twisted tongue, and a recurring rhyme of edible body parts give
the work a resistant playful quality reminiscent of a coyly al dente
pasta: firm at the center, but tender.
JULIA LOKTEV (New York, NY) is a Russian-born radio artist, whose home is now Loveland, Colorado. Among her recent creative fixations are carnal architecture, obnoxious children, and food. Locktev was active at CKUT (Montreal), where she produced Voiceage, a one-hour collage on old age, and a half-hour work with a group of twelve-year-olds, dadababies. Since she has traveled extensively through the former Soviet Union and attended film school at New York University in New York City. NANCY STEADMAN (Montreal, Canada) grew up in a small prairie city in Canada, the daughter of a proprietor of a number of Kentucky Fried Chicken franchises. A degree in psychology compelled her to study dance with a variety of companies in Canada, which led to her working as a private movement instructor—particularly with musicians, which piqued an interest in radio that lead to her working with Montreal community radio. top |
|
| LOPEZ, TOM | |
| Dishpan Fantasy (1998) In this operatic fantasy, Dora samples new "Blue Goddess" dish detergent, and floats away in a bubble to a tropical Shangri-La where trees, flowers and even the breeze sing to her. Dora and her husband, Aldo, are conveyed on a mythic journey to a place where women are goddesses, and men are as myrthful and devilish as Pan. A work that's funny and fun, it features performances by soprano Ida Faiella, and by John McDonough of Captain Kangaroo-TV fame. TOM LOPEZ (Fort Edward, NY). "As far as my bio goes, you can say 'Has written and produced over 100 radio dramas.' That's enough." One might add, however, that Lopez worked with Yoko Ono in the late 1970s and has since become public radio's most successful producer of contemporary radio drama. In the 1980s, his ZBS Foundation conducted influential workshops on sound production (including binaural or 3-D sound) and developed a uniquely popular cassette distribution business built on Lopez's work that's still going strong. |
|
| LUDWIG, MEREDITH | |
| Piled
High (1989) (2:20) A woman lives
in her neighborhood dumpster, where she contemplates the usefulness
of the things discarded by others and philosophizes for us: "So you
see, if things get too rough for you, you find a dumpster. You be alright."
MEREDITH LUDWIG (Nashville, TN) is an actress, writer, and radio producer. She makes her living as a production assistant for commercial television. top |
|
| M | |
| |
MACGREGOR, TONY MADSEN, VIRGINIA MALLOZZI, LOU MARCLAY, CHRISTIAN MASON, KEITH ANTAR MATAMOROS, GUSTAVO MATOUSEK, VLASTISLAV MAUGE, COLLIN MCKEE, JIM MCLENNAN, ANDREW MECKLEY, DIANA MESSINA, SERGIO MICHELE, RONA MIGONE, CHRISTOF MONTAGUE, SARAH MORELOCK, WILLIAM MORENO-PRIMEAU, SONI MORTLEY, KAYE MOSS, DAVID |
| MACGREGOR, TONY | |
| See Madsen, Virginia, "Cantata of Fire." top |
|
| MADSEN, VIRGINIA | |
| Cantata
of Fire (1994) With Tony MacGregor.
About the standoff between FBI agents and members of David Koresh's
cult in Waco, Texas, 1993. The work is a song of tragedy that begins
with guns—with cult members invisible behind the walls of their
compound, all communication by telephone and the command center for
the FBI agents in distant Washington—with the compound surrounded
by loudspeakers blasting out a sonic assault that seemed to echo the
collapse of the walls of Jericho. . . Incorporating fragments of reportage
and survivor accounts, the work is a poetic speculation on states of
mind, on sound as a weapon and the voice of God. Produced for The Listening
Room, Australian Broadcasting Corporation.
Taken by Speed, Parts 1 and 2 (1990) (abridged) With Andrew McLennan. Takes you to The Listening Room studios at the Australian Broadcasting Corporation, where host Andrew McLennan and producer Virginia Madsen composed an extraordinary three-hour program on the ideas of French architect, strategist, and philosopher of speed, Paul Virilio. Virilio's book, The Aesthetics of Disappearance is about speed-space: the collapsing of physical dimensions, the world disappearing before its image. It warns us that we're going too fast, so fast that we're losing consciousness. In Taken by Speed, Paul Virilio in Paris, philosopher Sylvere Lotringer in New York, and radio maker Virginia Madsen in Sydney come together via satellite. They conduct a three-way conversation in French and English in electronic space—the space Virilio calls speed-space. An outstanding radio art documentary. VIRGINIA MADSEN (Sydney, Australia) is an independent radio producer, sound designer and writer. She has created a number of significant works for the Australian Broadcasting Corporation, and her work has been broadcast in the U.S., France, Denmark, and Sweden. Madsen has taught radio at the University of Technology, Sydney, where she is currently doing doctoral studies. She is also involved in writing and sound design for installation and performance. Collaborators: TONY MACGREGOR (Sydney, Australia) Collaborated on Cantata of Fire. MacGregor has a background in experimental theater, and has worked for the Australian Broadcasting Corporation radio since 1984, primarily with the ABC arts unit, The Listening Room. MacGregor frequently works in collaboration with artists on projects that include theatrical performance and gallery or site specific installation. The co-founder of the Pacific region audio arts festival, SoundCulture, he received a fellowship from the Australia Council to work in Paris for four months in 1994. ANDREW MCLENNAN Collaborated on "Taken By Speed, Parts 1 & 2." (see McLennan, Andrew) top |
|
| MALLOZZI, LOU | |
| Building
from Scratch (1991) (14:00) An
audio art work with a simple fictional pre-text: the discovery of a
letter written in a foreign language and hidden in an unfamiliar house.
A young girl narrator provides directions for finding it. Parallel to
this fictional information are several linguistic explorations of the
male-female/female-male relationship. Instructions, descriptions, arguments,
songs, and phone calls are combined with electronic, musical, and ambient
sounds to present alternative views of the relationship and the struggles
that define it. The sonic experience is not fixed in a definitive narrative
or ideology, but remains fluid, multi valent and evasive.
Dizzy, Not Numb (1995) An audio art work that explores the sensorial body. Utilizing four original texts on breath, heat, bulk, and scent, several other linguistic layers or interpretive shells were constructed by asking several people to converse or improvise on the given themes. The sounds of bodies in motion, in space, and in repose interact with these texts. Drifters (1998) is an attempt to find ways for both language and place to drift: different representations of language drift among each other - from stories in fragments to phrases to phonemes, from real stories to re-creations and back. These languages also drift among different sonic locations, which also drift among themselves - from a dripping cavern to an airport to the ocean. Eavesdropping, or the comments on eavesdropping, become the linchpins for the various sections, eavesdropping being a surreptitious drifting in and out of someone else's narrative space, as their sounds drift in and out of the eavesdropper's acoustic space. [Listen] Lingua Franca (1992) A rich playful composition on language and communication that exploits a variety of language combinations to comment on the impossibility of complete communication and to explore the possibilities of language-as-material. Commissioned by NEW AMERICAN RADIO. [Listen] New World del Vecchio (1992) A work about the blurry line between exploration and exploitation, and about the interaction of history, memory, and fiction. Through interwoven narratives—the first voyage of Columbus to the Caribbean, Leonardo Da Vinci's anatomical dissection of a 100-year-old man, and stories about immigrating Italian peasant workers—this piece investigates the various motives and dreams behind the quests for "new worlds." Commissioned by NEW AMERICAN RADIO. [Listen] LOU MALLOZZI (Chicago, IL) is a performance, audio, and installation artist. Much of his work explores the methods by which men define the world and impose that definition on women and children. Mallozzi is a recipient of an Illinois Arts Council Artist's Fellowship and has performed extensively in Chicago. He teaches interdisciplinary arts and sound at the School of The Art Institute of Chicago and is a founding member of the Experimental Sound Studio in Chicago. top |
|
| MARCLAY, CHRISTIAN | |
| Stop Talk
(1990) Old arias, scratched symphonies, pop ballads, cut-up verses,
disco beats, children's stories, and numerous other vocal and musical
fragments, mixed and manipulated into a lyrical composition on multiple
turntables and a 16-track tape recorder. Subliminal narratives flicker
into existence only to dissolve instantly, then reform like micro worlds
momentarily glimpsed and lost. "I want to trigger the mechanisms of
memory," Marclay says, "to bring to the surface what has been deposited
in our collective and personal memories. I don't want to impose a single
reading but to involve each listener in the narrative process. The work
is a reaction to the overflow of sound contributed daily by the media.
In this saturated aural environment, I don't ask myself what more to
add, but rather, what to do with it. " Commissioned by NEW AMERICAN
RADIO. [Listen]
CHRISTIAN MARCLAY (New York City, NY) Christian Marclay is a visual artist and composer whose innovative work explores the juxtaposition between sound recording, photography, video and film. Born in California and raised in Geneva, Switzerland, he studied sculpture at the Massachusetts College of Art in Boston and Cooper Union in New York. As performer and sound artist Marclay has been experimenting, composing and performing with phonograph records and turntables since 1979 to create his unique "theater of found sound." He has collaborated with musicians such as John Zorn, Elliott Sharp, Fred Frith, Arto Lindsay, and Sonic Youth among many others. A dadaist DJ and filmmaker his installations and video/film collages display provocative musical and visual landscapes and have been included in exhibitions at the Whitney Museum of American Art New York, Venice Biennale, Centre Pompidou Paris, Kunsthaus Zurich, San Francisco Museum of Modern Art. Marclay is a professor of video collage and sound at the European Graduate School in Saas-Fee, Switzerland, where he conducts an intensive summer seminar. top |
|
| MASON, KEITH ANTAR | |
| See Apple, Jackie, "Frenzy in the Night"; and "Redefining Democracy in America, Parts 1, 2, & 3: Episodes in Black and White"; and "Part 6: A Leap of Faith." top | |
| MATAMOROS, GUSTAVO | |
| Joe
Celli's Portrait (1991)
(9:20) A work for avant-garde oboist Joseph Celli that reflects in content
and form on the composer/ performer's musical philosophy. Composed from
sampled interview excerpts, word fragments, and parts of letters. (#25,95
with Bassenge and Whitehead)
Tracing the Radio Landscape (1992) A sound portrait based on "snapshots" of living room environments that include a radio as an active sound element. The first layer of the work is made up of these recordings. The second layer is constructed from a selection of the same sounds, but manipulated and processed by computer. The third layer, representing the interpretative stage of the work, includes a text developed in collaboration with writer Robert Gregory. Commissioned by NEW AMERICAN RADIO. [Listen] GUSTAVO MATAMOROS (Miami, Florida) is an experimental composer, performer, and sound installation artist, and the founder of the composer based group PUNTO. Born in Caracas, Venezuela, in 1957, where he developed an interest in music through experimentation with short-wave radios and tape recorders, he has lived in the U.S. since 1979. His music and sound installations have been featured at The Latin American Music Festival and the III Encuentro de la Nueva Musica Electronica '91 in Caracas; the XV New Music Forum in Mexico City; and at numerous venues in the U.S. and Europe. Since 1989 he has been director of the South Florida Composer's Alliance and artistic director of the Subtropics New Music Festival in Miami. He co-directed the WORD(S)OUND festival of text-based sound works and poetry for the 19th Biennial of Sao Paulo, Brazil. He is the producer of FISHTANK Radio Journal of New and Experimental Music on WLRN in Miami. top |
|
| MATOUSEK, VLASTISLAV | |
| Five
Minutes Before (1943)
(5:00) A strikingly simple, playful, electro acoustic work built from
the sounds of a ticking alarm clock. The theme: Human beings tend to
expect that significant events will interrupt the dull flow of their
lives and somehow give meaning to them. This expectation is an illusion.
Rather, it is the small, barely perceptible changes around them that
probably have the most meaning—the NOTHING that seems to happen.
Accordingly, it is the gradual spatial variations in an otherwise unchanged
musical environment that one should listen for in Five Minutes Before.
Produced for Czech Radio.
Praga 1993 (1993) (5:01) Uses characteristic sounds from Prague as its raw material—bells of the Loreto Church, the Singing Fountain, the Old Town's astronomical clock—and musical quotes from works associated with the city, such as the symphonic poems by Bedrich Smetana. Prague's ancient history and its beauty are ever present in the sounds of this evocative polyphonic work. Produced for Czech Radio. VLASTISLAV MATOUSEK (Prague, Czech Republic) studied musical science, music theory and composition from 1977-89 and then turned his attention to non-European cultures and ethnic musical influences. His compositions range from chamber music and symphonies to children's songs and alternative rock. With the ensemble "Relaxation" he has been playing meditative Orient-inspired music since 1979. Matousek is also a music dramaturg and publicist for Czech Radio in Prague. top |
|
| MAUGE, COLLIN | |
| See Aschak, "Theme: Repairing the Elements of Rust." top | |
| MCKEE, JIM | |
| See Earwax Productions, "Audiographs -- Songs From the Tenderloin," "Bloody Angle," "Virtual Paradise -- The Reality Tape," and "Wake for Tom." top |
|
| MCLENNAN, ANDREW | |
| Komar
and Melamid (1988)
Introduces two Jewish artists who emigrated from Russia in the early
seventies when emigration finally became legal. Like most Jewish-Russian
emigrants of the time, they first went to live and work in Israel. Later
they moved to the United States. Some critics call them clowns; others
prefer the term "political artists." Produced for the Australian Broadcasting
Corporation.
ANDREW MCLENNAN (Sydney, Australia) was a professional performer in theater and dance from 1961-71. In 1975 on a grant from the Australian Council on the Arts, he studied advanced radio drama production techniques in Europe. Since that time he has been a Senior Producer (drama and features) and producer-presenter for the Australian Broadcasting Corporation's experimental audio and music programs. McLennan is currently producer and founding member of The Listening Room, a program of radio performance art, audio essays and explorations in the acoustic arts. See also Madsen, Virginia, "Taken By Speed, Parts 1 & 2." top |
|
| MECKLEY, DIANA | |
| Brass
Map (1990) (13:00) A work for brass, voice, and computer.
It explores ideas of perspective and the meaning we attribute to sound
based on its proximity or simplicity. Brass Map makes use of samples
of musical material, folding those multiple wave forms via computer
to create complex notes and then using those notes to play other sections
of the work. Several other levels of structure are added to the work
to make specific use of the radio medium and to create a different kind
of narrative structure. Commission of NEW AMERICAN RADIO. [Listen]
DIANA MECKLEY (Brooklyn, NY) is a composer, writer/editor, arts administrator, and researcher whose work over two decades reflects her interest in the interfaces between art, science, technology, and the humanities. In the past six years, her work and research has focused on the nature of cross-disciplinary collaboration; the evolution of art practice and content in a continually changing technological/socioeconomic environment; the artist as researcher; and the impact of science on culture and the artistic response to that in the public realm. She has participated in and helped conceptualize a number of conferences and symposia focusing on art/science, emergent art forms, and interdisciplinary collaboration and has sat on a number of panels that award grants or residencies to artists working with new technologies. Most recently she was invited to be a proposal evaluator for the Creative Capital Foundation for their 2002-2003 Emerging Art Forms grant cycle. Meckley's music has been performed or broadcast in the U.S., Canada and Europe and she has appeared both as a soloist and with her own ensembles. Venues have included Merkin Concert Hall, the Kitchen, Roulette, the Whitney Museum of American Art, New Music America (Montreal); and West German Radio (WDR, Cologne). Her compositions range from those for electronically-altered voice to acoustic and computer-edited brass to string quartet. top |
|
| MESSINA, SERGIO | |
| Marinetric
(1991) An homage to the futurists, adapted for radio from a live
performance in which Messina performed with two samplers triggered by
a guitar and a tape recorder with digital effects. The work makes use
of the voices of the futurists Depero and Marinetti. Commissioned by
and produced at ORF/Kunstradio, Austria, 1991.
SERGIO MESSINA (Italy) Biography unavailable. top |
|
| MICHELE, RONA | |
| See Gomez-Pena, Guillermo, "Temple of Confessions." top | |
| MIGONE, CHRISTOF | |
| A
Hole in the Head—Brain Amplifications and Herniated Texts
(1993) A collection of portraits for those with dysfunctional attention
spans and disrespect for proper microphone techniques. Each portrait
flirts with the one-minute mark and acts as an incision into the broadcast
space. All portraits have textual origins. Acting as their interpreter,
the artist seeks to create a territory in permanent flux, with intersections
showered by collisions. An exploration of sound and language in its
infinite detail, from saliva contortions to alphabetical sonorities
to sporadic humming. [Listen]
Solar Plexus (1993-94) This work concentrates on the minute, the hereto insignificant, those tiny moments. Vacillating between abstractions and recognisability the piece features microphone intrusions, bad singing, sporadic moaning, and half-hearted humming. Solar Plexus is set as a diaristic and intimate rendition of the unusual as well as the banal. A portrait of the artist is thus rendered, and it is prickly soft and exposed (yet under surveillance). A narrative of a non-narrative, on the surface, the work accomplishes nothing. Squeaky Clean, Parts 1 & 2 (1993) With friends. A non-linear, episodic, improvisational soap opera. The work focuses on incidental characters, improbable events, and imaginary places, and words are used for their sonic as well as semantic qualities. An ear-in-cheek, audio artistic romp through the conventions of television soap operas and radio dramas. The Thing About Bugs (1994) With Gregory Whitehead. An exploration into the improbable relationship between entomology and electricity. Bugs in the world of electronic media or bugs in our beds: how to respond? In this collaborative "field trip," Migone and Whitehead invite us into their bug infested soundscape to investigate live wire cross-currents of extermination and redemption; the vitality of dirt and the urge to clean; the joys of pure noise and the fear of bodies gone to the worms. Professional exterminators philosophize about their daily warfare against other species while the producers orchestrate a mad carnival of the True Bugs. Commissioned by NEW AMERICAN RADIO. [Listen] The Transpiring Transistor (1992) Short audio pieces based on the "Ecrits Bruts" (France, 1979), writings of the insane. CHRISTOF MIGONE (Montreal, Canada) is a sound artist who works extensively with Canadian community stations, particularly CKUT-FM in Montreal. His weekly program, "Danger in Paradise" (1987-1994), explored excesses of the radiophonic language. He has curated two international radio art festivals Touch that Dial and Radio Contortions, and his texts have been published in EAR magazine, Musicworks, and Semiotexte. top |
|
| |
|
| Three Sisters is a performance work for radio that explores the role of women and the nature of time through the manipulation of language and sound. It uses as its matrix Chekhov's play "The Three Sisters", the theme of which is the struggle between freedom and stasis, between the dream of Moscow and the oppressive present. By dissolving the surface of the play acoustically - deconstructing it and interweaving elements of text, music and created sound - Three Sisters transforms Chekhov's three sisters, who hope "our suffering may mean happiness for the people who come after us," successively into other trios, other triangles from both classical and popular culture: the Three Graces, the Three Witches, the three Brontees, the Supremes, the characters in Gertrude Stein's Three Lives .... SARAH MONTAGUE (New York City) is a writer, radio producer and director who was born and educated in Great Britain. Since the early 1980s she has built a career in New York City with numerous radio drama productions for public radio to her credit. The co-founder of Exit 3 Productions, Montague's nationally distributed dramatic series include "The Radio Stage" and "Jazzplay" as well as arts specials for NPR. Montague was a 1995 Artist-In-Residence at Harvestworks, where Three Sisters was produced. Also see Thorington, Helen, "In the Devil's Footsteps, Parts 1 & 2." top |
|
| MORELOCK, WILLIAM | |
| Proposition
Four (1989) A work that propels us into
the year 2004, when San Francisco Bay has just been drained to create
the perfect environment for a theme park. The vision of the world's
most powerful private citizen, Arthur Seymour Sullivan, a man whose
boundless love for amusement parks may eventually transform the entire
planet into one. But before the construction begins, the people of San
Francisco get ready to witness the ultimate: the recovery of the ancient
Hologram of Creation from the bottom of the Bay. Finally mankind will
know the secret of life. . .Commissioned by NEW AMERICAN RADIO.
Pruning: A Love Story (1991) Maria Esperanza, a dental hygienist and chanteuse loves Clay Balfour, the divorced father of two children and owner of a little house on 34th and Fever. And he loves her back. But as a man emotionally "in extremis" who tries to heal himself by extreme means, Clay also falls in love with something he can't define: with the ambiguity, the act of juggling all the chaotic elements of his life. Music and sound play an unusual role in this exploratory drama. They intrude upon, complement, and accompany Clay's tour of his own mind. They take on the form of reaction-connection. Events react with events, the reaction connects with other reactions involving other events . . . nuclear introspection! Commissioned by NEW AMERICAN RADIO. [Listen] Saturday, Late in the Twentieth Century (1990) Laura Mace Riddle is a beautiful media magnet who understands the media she controls. Ruthless, mad for power and with a fondness for clothes, cars, and private wine cellars, Laura also has ideas. And that's why the ingenious and sly Jenkins ("Jinx") Potter, in love with her since the age of thirteen, agrees to create and host a radio program, Saturday, Late in the Twentieth Century. It is, of course, to be a vehicle for her enterprises, which are the show's sponsors. . .This is only the surface of Morelock's sharp and witty play. Add a framework of ideas by Marshall McLuhan, Walter Percy, and Glenn Gould. Fill in with music, sounds, and a host of characters living and dead. And there you are: Saturday, Late in the Twentieth Century, a radio show celebrating the possible. Commissioned by NEW AMERICAN RADIO. [Listen] Short Summer at Longhurst (1992) Four young people in search of a comedy of manners get caught up in a succession of plot conventions and verbal repartees straight out of S.N. Behrman or Philip Barry. Set on the estate of lumber baron R. George Fellows, the play follows the no nonsense Laura, slothful Tom, the skeptical and exquisitely bored Regis, and sweet little rich girl Winnie as they come to terms with their meaning as characters in a world perpetually in love and perpetually at odds with privilege. A meddlesome Chorus encourages, censures, supports, chides, and occasionally calls up the characters in the midst of the action to give unsolicited advice. Commissioned by NEW AMERICAN RADIO. Sims Serenade (1992) The story of a young man and his family, an old man and his town. Harry Lyman Sims is the unofficial bard of Hallam, a town east of San Francisco with a long, deep past buried beneath a development so bright and shining and inexorable no history can be seen or heard. As Sims says, "There has come a time when fewer and fewer people can tell the difference between knowledge and news. That is the time to tell a story—about people in a place, at a certain time, trying to recover from the dislocations of life lived through the filters of expectation and regret." Commissioned by NEW AMERICAN RADIO. [Listen] WILLIAM MORELOCK (Minneapolis, MN) was a producer and classical music host at KWSU-FM in Pullman, Washington beginning in 1982. In 1987 he occupied the newly established position of arts programming coordinator. Incorporating features on arts and entertainment into his classical music show, Morelock developed "Bob and Bill"—a daily National Public Radio program produced by Minnesota Public Radio. top |
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| MORENO-PRIMEAU, SONI | |
| MORTLEY, KAYE | |
| Do
You Remember Jogjakarta? (1992)
"The work began as fragmentary notes, impressions, sensations, jotted
down during a trip to Indonesia: Jogjakarta via Djakarta. Notes born
of a growing sense of frustration because I did not have a microphone
to catch the strangeness, the sensuality of the sounds, beguiling on
all sides." (Mortley) Do You Remember Jogjakarta? is a work of extraordinary
subtlety and stimulating complexity. Its text, original music by American
composer Tom Johnson, and occasional ambient sounds are a poetic tribute
to Indonesia as well as a reflection on sound as a language unto itself:
"There are no words for sound, only similes." (from the work) Produced
for the Australian Broadcasting Corporation. [Listen]
It is the Days, Lucy (1994) A beautifully subtle and complex work that is both document and reflection. Recorded on St. Lucy's Day in Stockholm, Sweden, the work is about the cultural meanings of this celebration. But it is also a reflection on light and darkness, seeing and not seeing, creation and destruction, and on memory. Produced for the Australian Broadcasting Corporation. [Listen] Streets—Paris/Tokyo (12:00) A bilingual "sight seeing tour" in French and English that unfolds through the recitation of street names and brief reflections by people on their favorite streets. "Rue des Anglais—Rue Bonaparte—Rue du Bordeaux—Chateau Rouge—Rue de la Cle..." Poetic and compelling. Co-commissioned by Radio France and the Australian Broadcasting Corporation. [Listen] KAYE MORTLEY (Paris, France) was born and raised in Australia. After studies in Sydney, Melbourne and Strasbourg, France, she finished her doctorate in French literature and begun working as a writer-producer for the ABC, Australia. In 1981, Mortley moved to Paris, where she built a career as a documentarian working for Radio France and radio stations around the world. Today, she is one of the most respected documentary producers in the world. Mortley's works are characterized by a transparent, elegant production style, a quiet and poetic language, and a remarkably sensual sound quality. top |
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| MOSS, DAVID | |
| Conjure
(1993) (10:00) Moss's second audio
piece based on a Calvino text. A dizzying stew of music and narrative—
quantum physics, languages, chants, stories, scientists, banquets, distant
galaxies, songs, objects, and desire. Co-commissioned by Harvestworks,
Inc., the Wexner Center for the Visual Arts., and NEW AMERICAN RADIO.
[Listen]
Language Linkage (1986) (10:00) An OpeRadio that revels in the playful world of the late Italian writer and Nobel Prize winner, Italo Calvino. Moss uses selected texts from Calvino's "Invisible Cities" and his own inimitable vocal and percussion style. DAVID MOSS is one of the most innovative percussionists and vocalists in the field. His solo performances combine drums, metal, strings, plastic, wood, and microchips with astonishing vocal techniques. Moss received a fellowship from the German Academic Exchange Service (DAAD) in Berlin in 1991. He has remained there, using Berlin as homebase from which to tour Europe, Japan, Australia, and the U.S. Moss has worked with amongst others Fred Frith, Shelley Hirsch, Heiner Goebbels, Christian Marclay, Carlos Santos, Hans Peter Kuhn, Henning Christiansen, Tom Guralnick, Jon Rose, Sergei Kuryokhin, Z'EV, Malcolm Goldstein, Anthony Coleman, Peter Hollinger as well as collaborated with dancers Steve Paxton, Kei Takei, & Kenneth King. As a soloist MOSS has been featured at: The Kitchen, Public Theater, Knitting Factory, Whitney Museum, Roulette, Musica '88/92 (Strasbourg/Bonn), Walker Art Center, The Ijsbreker, New Music America ('83-88), Wien Festwochen, Taktlos Festival, PS 122, Tokyo New Music, American Center (Paris), ICA (London), Milano Poesia, Alte Opera (Frankfurt), WDR (Koln), Kunst Museum (Bern). top |
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