Research
Playing phenomena as a compositional material
This mix explores how the use of aural phenomena can manifest in its many forms to become the key element in a compositional practice. By engaging in the use of such expanded sonic techniques the composer can act to create a recalibration of the listeners sense of hearing and by so doing, allow for a reconsideration of what constitutes sonic composition.
Exclusives
Exclusive music by Keith Fullerton Whitman and Carl Michael von Hausswolff.
Kees Tazelaar. Part I
Straddling art and documentation, the restoration work that Kees Tazelaar carries out is a crucial but largely unknown stage in the recovery of historical sound material. Tazelaar describes his experiences as head of the magnetic tape archive at the Institute of Sonology in The Hague, in which nostalgia coexists with academic rigor.
This is where pitch becomes weightless and all that is solid melts into air: futurism, noise, electricity, ecstasy and uncertainty. We look at the lure and power of sliding tones.
Radio Maghreb
In this project Alan Bishop vindicates the use of radio as an electronic instrument in a journey through time and space that unearths old recordings from the AM and FM airwaves made during his first trip to Spain and Morocco in 1983.