Radio Boredcast is archived at WFMU where you can listen to all 744-hours of this online radio project that ran continuously for the Festival month. WFMU is the longest-running freeform radio station in the US. Information about the programme schedule for this day is listed below. The Radio Boredcast archive can be listened to here.

SUN 25 MARCH: 12.04AM

Ever been in a bar or a restroom with someone who won't stop talking? Logorrhea, I think they call it. A two hour monologue about slowness should be enough to put anyone to sleep: Andrew Sharpley obliges with a leisurely wander up and down the garden path by way of the hind legs of a donkey. You know where the door is.

Andrew Sharpley is perhaps best known as 1/4 then 1/2 of UK sampling unit Stock Hausen and Walkman, formed in 1991, who achieved what they had been working towards in 2001 by splitting up. Relocating to France, Andrew then spent the next ten years undertaking commissions, or playing in bands, from animation festivals to jazz festivals to arts festivals in champagne cellars, by way of wi-fi broadcasts in cars and too many hours spent in vans. His return to the UK in 2O11 found him back where he started, and more productive for it. He presents these two broadcasts," slow" and " red herring", as evidence, although for what, is as yet unclear.

SUN 25 MARCH: 2.14AM

1. Raga Shudh Sarang
2. Raga Kut Todi

One of the undeniable beauties of Indian Classical Music is its strong connection to nature and especially the binding relationship of Raga melodies to their appropriate time of day. An elegant curve of melody, a subtle lowering of pitch, or an assertiveness attached to a particular note help to define the effect of a Raga. There are Ragas for all the times of the day and night as well as seasons and when they are sung at their appropriate time their effectiveness is noticeably enhanced. Pandit Pran Nath's knowledge of this musical science was extraordinary and he made it his life's work to probe deeply with his expressive voice the true character of each raga using his matchless pitch discrimination and compelling emotional range. The Raga Cycle at the Palace Theatre in Paris, 1972 showcased Pandit Pran Nath at the peak of his powers. The Raga Cycle took place over three consecutive days: Friday, May 28th night ragas, Saturday May 29th late afternoon ragas, and Sunday, May 30th, morning and mid-day ragas. These three concerts stand as a truly awe-inspiring monument, an example of perfection of the high art of Hindustani music by one of the greatest masters of the Kirana Gharana. Kirana, a small village north of New Delhi, produced many of the giants of Indian classical vocal music. Among them, Ustad Abdul Waheed Khansahib, Pran Nath-ji's guru, and the immensely popular Ustad Abdul Kareem Khan.

Accompanying Pran Nath in these Place Concerts are his American disciples, La Monte Young and Marian Zazeela, tambouras, and Terry Riley, tabla. http://www.ubu.com/sound/nath.html

SUN 25 MARCH: 3.05AM

It’s not over now, Baby Blue…

SUN 25 MARCH: 4.40AM


SUN 25 MARCH: 4.57AM

Over a period of 5 days whilst in Borneo, I went out into the jungle before sunrise and set up a stereo recording system and left it running - something I never usually do. The results are really good and I have a collection of sunrise tracks in the Sukau rainforest of Sabah in Borneo over successive mornings with a range of bird and other animal sounds as well as the characteristic sounds of tropical rainforest; that is huge amounts of humidity and moisture slowly percolating down from the canopy 40m overhead. 

Chris Watson is one of the world's leading recorders of wildlife and natural phenomena. In 1971 he was a founding member of the influential Sheffield-based experimental music group Cabaret Voltaire. His sound recording career began in 1981 when he joined Tyne Tees Television. Since then he has developed a particular and passionate interest in recording the wildlife sounds of animals, habitats and atmospheres from around the world. His television work includes Bill Oddie Back in the USA, Springwatch, Autumnwatch and The One Show. http://www.chriswatson.net

SUN 25 MARCH: 7.35AM

Trance inducing repetition is a key component of much African-American worship and song. In this short mix, I’ve tried to highlight several song styles along with several archetypal songs that feature this type of fervor raising performance. Inspired by this, I’ve also included several re-mixes and collages of preachers and chants (of my own making).

Kevin Nutt hosts Sinner's Crossroads on WFMU and runs CaseQuarter Records. He is the Archivist at the Archive of Alabama Folk Culture in Montgomery, Alabama. http://www.wfmu.org/playlists/CR

SUN 25 MARCH: 8.54AM


Le pont Mirabeau is a poem by Guillaume Apollinaire, published in his 1913 collection Alcools. In response to the theme and the structure of As Slow As Possible/Radio Boredcast, I chose to record myself reading Le pont Mirabeau at 8.30 in the morning for 31 days, anticipating and mirroring the duration of the broadcast in a different place and at a different time.

I chose this poem because of its slow flowing against its slowing into stillness – the flow of water, time and words in the stanzas against the circularity of time in the refrain. The adjective ‘slow’ appears still in the third stanza, the same one that contains ‘love’, ‘hope’, ‘violent’. The adjective ‘still’ appears slow in the refrain, as an impossibility. In the original French poem, ‘slow’ rhymes with ‘violent’ and ‘still I stay’ with ‘hours’.

The lack of punctuation throughout the poem calls not only for a flow of words, but also for different rhythms and meanings arising out of each reading. The readings always took place in my office, sometimes as dedicated recordings, sometimes while I was preparing to go out, sometimes while I was reading the paper or checking the news online. I learned the poem by heart, so sometimes the recordings mirror my small hesitations and gaps in recalling the verses. An old phonograph recording of Apollinaire reading the poem (from the Archives de Parole, Collection Phonothèque Nationale - Bibliothèque Nationale, Paris) supported some of the readings.

Daniela Cascella is a writer and curator based in London since 2009. Her research is focused on sound and on the way it seeps into other formats, most of all text. Her most recent projects explore and employ fictional tropes in writing criticism and descriptions of sound in fiction. She has recently finished writing her third book, En abÎme: a narrative across listening, reading and writing-as-landscape, as part of her research in the MFA Art Writing at Goldsmiths College that she completed in 2011. http://www.danielacascella.com

SUN 25 MARCH: 8.59AM

Kenneth Goldsmith's writing has been called some of the most exhaustive and beautiful collage work yet produced in poetry by Publishers Weekly. Goldsmith is the author of ten books of poetry, founding editor of the online archive UbuWeb, and the editor I'll Be Your Mirror: The Selected Andy Warhol Interviews. From 1996-2009, Goldsmith was the host of a weekly radio show on New York City's WFMU. He teaches writing at The University of Pennsylvania, where he is a senior editor of PennSound, an online poetry archive. In 2011, he co-edited, Against Expression: An Anthology of Conceptual Writing and published a book of essays, Uncreative Writing: Managing Language in the Digital Age. In May 2011, he was invited to read at The White House for President and Mrs. Obama's "A Celebration of American Poetry." Goldsmith will participate in dOCUMENTA(13) in Kassel, Germany, 2012.
Kenneth Goldsmith's page on PennSound

SUN 25 MARCH: 10.10AM

A live performance of four early works by Steve Reich: "Four Organs", "My Name Is", "Piano Phase", and "Phase Patterns." This performance marked an important moment in San Francisco Bay Area new music history with the triumphant return to the East Bay by Reich, who studied at Mills College with Luciano Berio, and who performed the 1964 world premiere of Terry Riley's seminal work, “In C", at the San Francisco Tape Music Center. The resonant acoustics of the University of California at Berkeley Museum’s concrete interior were especially appropriate for “Four Organs”, with its long additive sustained chords over a maraca pulse. The capacity crowd occupied every conceivable area of the interior space, including walkway ramps suspended over gallery spaces. (November 7, 1970)
http://www.archive.org/details.php?identifier=ReichBerkeleyMuseum&from=mainPicks 1/

SUN 25 MARCH: 11.13AM

Timeless Music, explains the two physical dimensions of music and approaches to manipulate them, with musical examples.

For recorded music, the dimensions are air pressure amplitude and time: and for composed music the dimensions are frequency and time. We explore some approaches for how one can play with these dimensions, for example using fractal patterns with partial dimensions, so that issues like tempo become undefined, and the length of music become ambiguous.

The show includes explanations / illustrations of how to make deliberate fractal patterns in music, Fourier transform music and even a straightforward explanation of white noise. (These are really not hard, and I'd like to think I explain them with minimal jargon.)

Exploring this direction, I have prepared some math music:
The variations on Chopin's Minute Waltz uses integrals, derivatives, averages, and more.

My third string quartet, "The Essential" consists of mathematical variations on the second movement of Arnold Schoenberg's Second Quartet, and can be heard and the score downloaded from the Scores page. It includes a derivative movement, an integral (very short), a fractal movement, and a Fourier transform.

Olivia Porphyria, a fractal on Haydn's name, from Organum can also be heard and the score downloaded from the Scores page at www.davesoldier.com

Here are scores for two other fractal pieces for trombone and two guitars, Fractal on the Name of Haydn (http://davesoldier.com/scores/FractalHaydn4.30.Frets.pdf) and Fractal on the Name of Bach (http://davesoldier.com/scores/FractalBach4.30.pdf). For clarity, though, I advise starting with the Fractal Variation in "The Essential Quartet" (see score page) which is easier to follow and is essentially equivalent to a Koch snowflake pattern.

Why haven't integrals and derivatives been used to compose? It's not hard. Here's a mini-lesson on making a derivative or integral version of a musical theme: Use a C major scale, CDEFGABC

Assigning a number to each note, here starting at 0=C, the scale is: 0,2,4,5,7,9,11,12

For a first derivative, subtract each note from the preceding note, (0),2,2,1,2,2,2,1

Which using the original scale tones would be: C,D,D,Db,D,D,D,Db: voila'! the first derivative.

To integrate the derivative add each number to the previous, (0),2,4,5,7,9,11,12: which returns the original scale.

Integrate the original scale, and you'll see why integrals of the music rapidly go beyond the range of hearing! Examples are in the Essential Quartet and the Chopin Variations below, both with very short integral movements.

Dave Soldier leads a double life as a musician and a neuroscientist. As a composer, he developed a repertoire for groups including the Thai Elephant Orchestra, 14 elephants for whom he built giant instruments and who released 3 CDs, and projects with children, including rural Guatemala (Yol Ku: Mayan Mountain Music) and New York's East Harlem (Da HipHop Raskalz). His Soldier String Quartet helped usher the use of hiphop, R&B, and punk rock into classical music in the 1980s, and his long-running Memphis/New York Delta punk band, the Kropotkins, is a cult favorite. His composed The People's Choice Music: the most wanted and unwanted songs, following poll results of likes and dislikes of the American population, with artists Komar & Melamid; song cycle/oratorios in collaborations with Kurt Vonnegut, and many chamber and classical works. As a performer and arranger, he worked with John Cale, Bo Diddley, Van Dyke Parks, David Byrne, and many jazz and avant garde acts, appearing on over 100 albums and films on violin, guitar, or arranger. http://davesoldier.com/experimental.html

SUN 25 MARCH: 11.58AM

Brian Eno Interviewed on KPFA's Ode to Gravity, 1980 (February 2, 1980). Charles Amirkhanian and Brian Eno discuss Phonetic Poetry, how Brian writes his lyrics, and the spirit of inquisitiveness at KPFA Radio on Saturday February 2, 1980. Listen to some of Brian Eno’s pieces; After the Heat, Everything Merges With the Night, Another Green World, Spirits Drifting and sections of other pieces. Brian Eno also discusses the artist Peter Schmidt and their work on the Oblique Strategies Cards, being a producer, Process vs Product and looping. Reel I ends with some thoughts on Steve Reich and his music. Reel II starts with the history of the recording studio as a compositional tool;" and collaboration with David Byrne on album My Life in the Bush of Ghosts. Eno also talks about and listens to Elvis, The Supremes, Sly Stone, Lee Perry and Jimmy Hendrix. Then he offers some unfinished pieces from his upcoming album with David Byrne.

SUN 25 MARCH: 1.51PM

A collection of languid pop songs in which not a whole hell of a lot happens.  You can hear the grass as it grows. 

Charlie Lewis has been compiling music since he got a tape recorder at age eight, but it was not until his involvement with WFMU that he was able to foist his musical conglomerations on the public at large. He has been doing just that, both at that beacon of freeform radio and at other stations, and also for fashion shows and such, since 1996. He has played in various combos (http://bit.ly/tiWSoW), and written lots of music (http://bit.ly/tZEy2g), but has yet to outdo this work (http://bit.ly/vqiV0f).  Charlie worked in broadcast audio and in the music business for many years, but now does the more honest work of selling patent medicine. http://wfmu.org/playlists/CL

Sandie Shaw - Coconut Grove - Reviewing the Situation
Jerry Orbach - Lazy Afternoon - Off Broadway
Blossom Dearie - Quiet Nights of Quiet Stars - May I Come In
The Fifth Dimension - Working on a Groovy Thing - Best of
bed: Jack Nitzsche - Da Doo Ron Ron - The Lonely SurferButter 08 - How Do I Relax - Butter 08
Ike & Tina Turner vs. DJ Chazaloo - Proud Mary remix
Karen Mantler - Vacation - My Cat Arnold
Bob Dylan - All the Tired Horses - Self Portrait
bed: Roland Shaw - Tumblin' Tumbleweeds - Westward Ho
Friends of Dean Martinez - Nothing at All - A Place in the Sun
Latyrx - Balcony Beach - The Album
Eno - Golden Hours - Another Green World
Broadcast - According to No Plan - Work and Non Work
bed: Debashish Bhattacharya - Sleep Walk - Calcutta to California
The Special Pillow - No More Problems - Sleeping Beauty
Shudder to Think - Appalachian Lullaby (Nina Persson, vocal) - First Love, Last Rites
The DeZurik Sisters - Go To Sleep My Darling - Flowers in the Wildwood: Women in Early Country Music, 1923-1939 (various artists)
bed: DJ Wally - Feelin' Groovy - Genetic Flaw

SUN 25 MARCH: 2.55PM

Slow music is only slow in a relative sense but there is a certain tempo, certainly slower than the norm, that has hypnotised me for more than 40 years. The body feels as if it runs at a certain pace but this is surely just a trick of perception – everything is moving according to different cycles, the most extreme of which contrast the passing now which has already gone with our infinitesimal place in the extendedness of the universe. I listen to this slow music (examples that have sustained me for almost a lifetime) in order to feel adjusted to the pace at which I feel most myself.

David Toop is a composer/musician, author and curator who has worked in many fields of sound art and music, including improvisation, sound installations, field recordings, pop music production, music for television, theatre and dance. He has published five books, including Ocean of Sound, Haunted Weather, and Sinister Resonance: The Mediumship of the Listener. Exhibitions he has curated include Sonic Boom at the Hayward Gallery, London, Playing John Cage at Arnolfini, Bristol, and Blow Up at Flat-Time House, London. Visiting Professor at Leeds College of Music, he is a Senior Research Fellow at London College of Communication.

SUN 25 MARCH: 5.00PM


Ràdio Web MACBA is the Museu d'art contemporani de Barcelona (MACBA) online radio project. http://rwm.macba.cat

Poet, university professor and amateur archivist, Kenneth Goldsmith is the founder and main editor of Ubuweb, the Internet's largest archive of artistic avant-garde material. An underground project that has no institutional backing or budget of any kind, Ubuweb is an influential repository that is as exhaustive as it is personal, reflecting the preferences, quirks and obsessions of its creator. Son[i]a talks to Kenneth Goldsmith about the origins, ideas and operation of Ubuweb.

SUN 25 MARCH: 5.18PM

Mr Rotorvator (Adrian Phillips) studied horticulture in the early 90's and subsequently spent many hours breaking up old ground with the aforementioned machine in preparation for laying out new gardens. On rainy days he would find himself indoors, watching exercise videos or twiddling with his turntables and wondering, would a similar process work on his old record collection? Experimenting with various discs, he found that jamming the stylus at various points would produce interesting new rhythms. "I loved my old vinyl but was a bit bored with it too, what if I could chop up all the best bits from lots of different records and play them all at the same time, it's bound to sound great!" He was, of course, proved wrong but along the way some original sounds have been produced.

SUN 25 MARCH: 5.56PM

Dear Listener, We have all been here, nudged (ever so gently) over the threshold of rationality into the roiling ocean of futility where seconds entrap like amber. An appointment with Social Services, fifth-grade algebra class, a delayed flight, afternoons in the office cubicle – these are all manifestations of feebleness in our structured reality, a glimpse into the abyss of time. It is in these moments, as sensorial mummification sets in, when we have an opportunity to stare down this peculiar black hole. Bon voyage Pseu Braun and Alex Orlov.

Pseu Braun has hosted a radio show on WFMU for 20 years and has participated in a few noisy endeavors for a decade longer than that. She spent 16 years of her life as a phone company employee. Alex Orlov worked at the phone company for 12 years prior to his current job as an office efficiencies specialist at the Ministry of Blank Stares. He enjoys watching outdoor sports on TV and having the occasional American beer on the weekends. Playlists for Pseu Braun's radio show - http://www.wfmu.org/playlists/HK

SUN 25 MARCH: 7.00PM

01 Christian Marclay/Gunter Muller – “Love gasoline”
02 Christian Marclay – “Jimi Hendrix”
03 Christian Marclay – “Detroit, December 21, 2002”
04 C. Marclay/G. Muller – “Je Ne Vous Oublierai Jamais”
05 Christian Marclay/Gunter Muller – “pfiff”
06 Christian Marclay – “Don’t stop now”
07 Christian Marclay – “Johann Strauss”
08 Christian Marclay/Gunter Muller – “Vitalium”
09 Christian Marclay – “Annandale-on-Hudson, November 19, 2003”
10 Christian Marclay – “New York, September 17, 2000”
11 Christian Marclay – “One thousand cycles”

Jon Nelson is the host and producer of the nationally syndicated radio program Some Assembly Required. He's also a collage artist and curator.
More info: http://PostConsumerProductions.com

SUN 25 MARCH: 7.55PM

In response to the invitation to contribute sound that somehow speaks to the stated theme of slow audio, we have decided to focus upon musique concrete and its aftermath. The original practitioners of the musique concrete tradition - which was a global phenomenon, and not simply a continental one as it often supposed- had to work carefully, methodically, and above all, slowly. In order to capture, manipulate, process and assemble their work, decisions had to be made and enacted, plans drawn up, trials conducted and errors removed.  Lots of painstaking, hands on work stands behind each edit, each cut, each splice, each pass through a filter or into a process. The music soaks up and stores time, and it plays with time as a basic material. This music is both intensive and extensive in its demands upon its creators and its listeners. That said, we have not narrowly emphasized only the pioneers, but have sought to draw some connections between the first generation and subsequent audio, which seems to us to draw inspiration from this methodology. Slow down and enjoy.

Matmos is M.C. Schmidt and Drew Daniel, aided and abetted by many others. In their recordings and live performances over the last nine years, Matmos have used the sounds of: amplified crayfish nerve tissue, the pages of bibles turning, a bowed five string banjo, slowed down whistles and kisses, water hitting copper plates, the runout groove of a vinyl record, a $5.00 electric guitar, liposuction surgery, cameras and VCRs, chin implant surgery, contact microphones on human hair, violins, rat cages, tanks of helium, violas, human skulls, cellos, peck horns, tubas, cards shuffling, field recordings of conversations in hot tubs, frequency response tests for defective hearing aids, a steel guitar recorded in a sewer, electrical interference generated by laser eye surgery, whoopee cushions and balloons, latex fetish clothing, rhinestones on a dinner plate, Polish trains, insects, ukelele, aspirin tablets hitting a drum kit from across the room, dogs barking, people reading aloud, life support systems and inflatable blankets, records chosen by the roll of dice, an acupuncture point detector conducting electrical current through human skin, rock salt crunching underfoot, solid gold coins spinning on bars of solid silver, the sound of a frozen stream thawing in the sun, a five gallon bucket of oatmeal. http://brainwashed.com/matmos/bio/

SUN 25 MARCH: 9.08PM

Around the age of 11 or 12 I became obsessed with the comic operettas of Gilbert & Sullivan. This fascination lasted around 3 years. There were posters of W.S. Gilbert (the "S" stands for Schwenck, rather spectacularly) and Arthur Sullivan on my bedroom wall.

For years the thought of returning to their works "from memory" has been at the back of my mind. My very boring contribution to Radio Boredcast is "acappella" versions of the G & S operettas "HMS Pinafore", "Iolanthe", "The Pirates of Penzance" and "The Mikado".

Some of them I know better than others. In the cases where I didn't know the melodies, I made them up or roughly talked through them. I also decided to not use different voices for characters, and to omit stage directions, so we are left with a very boring barrage of Victorian words, tuned and untuned, from my tired, monotone voice.

Ergo Phizmiz is a composer, writer, and multimedia artist. He makes pop, theatre, installations, opera, radio-art, radioplays, sound-collages and performances. He lives in Bridport, UK, and has a headache. He never wants to perform Gilbert & Sullivan again. http://ergophizmiz.net

SUN 25 MARCH: 9.52PM

PRAYERS OF DESCENT (Gwilly Edmondez – voice & sampler)

‘Prayers of Descent’ seeks to perform a metamorphosis in real time from the sobriety of liturgical pronouncements to the perceived babble of ‘speaking in tongues.’ Much of Gwilly’s vocal work inhabits a space that can be characterized as a form of speaking-in-tongues while clearly owing debts to the likes of Kurt Schwitters (Ursonata); he was, however, also a pre-pubescent chorister before his voice broke, and therefore spent many hours listening to the ardently bored delivery of the English clergy while conducting liturgies. ‘Prayers of Descent,’ then, can be heard as a bridging of these two worlds.

Gwilly Edmondez has been making improvised music, composed music, collage and noise, officially, since co-founding Radioactive Sparrow in Bridgend, South Wales in 1980. Since 2004, in civilian life he has taught at the School of Arts & Cultures at Newcastle University. He currently performs and records as a solo artist and in multiple/multiplying group outfits. New work can be followed at the following locations:
A selection of older work is also featured at UbuWeb: http://www.ubu.com/sound/edmondez.html

SUN 25 MARCH: 10.57PM

Boston Typewriter Orchestra - Cornelius
The User - Symphony 1 For Dot Matrix Printers
Mistabishi - Printer Jam
Boston Typewriter Orchestra - Pyramid Scheme
The User - Symphony 1 For Dot Matrix Printers
Woody Phillips Toolbox Classics - Beethoven's Fifth
Willem Breuker Kollektief - The Typewriter
Boston Typewriter Orchestra - Customer Confidentiality
The User - Symphony 1 For Dot Matrix Printers
Stafan Mossenmark - Vroom - Concert for 100 HD Motorcycles
The User - Symphony 1 For Dot Matrix Printer
Remko Scha - Throb
Gen Ken Montgomery - Spacebar - 32 Lines
bd594 - Bohemian Rhapsody
Ryoji Ikeda - Back In Black
The User - Symphony 1 For Dot Matrix Printers
Alexander Liebermann - 40 Typewriters
Remko Scha - Kata Dee Do Day Nat A Doh
386DX - California Dreaming
Sesame Street - Yip Yip Computer
The Lazy Anarchists - Manifesto 2002 - Part 1
Boston Typewriter Orchestra - QWERTY Waltz

SUN 25 MARCH: 11.57PM

Jem Finer has made Radio Boredcast four 6-hour recordings of Longplayer to broadcast this month. Longplayer is a one thousand year long musical composition. It began playing at midnight on the 31st of December 1999, and will continue to play without repetition until the last moment of 2999, at which point it will complete its cycle and begin again. Conceived and composed by Jem Finer, it was originally produced as an Artangel commission, and is now in the care of the Longplayer Trust.

Longplayer can be heard in the lighthouse at Trinity Buoy Wharf, London, where it has been playing since it began. It can also be heard at several other listening posts around the world, and globally via a live stream on the Internet. Longplayer is composed for singing bowls – an ancient type of standing bell – which can be played by both humans and machines, and whose resonances can be very accurately reproduced in recorded form. It is designed to be adaptable to unforeseeable changes in its technological and social environments, and to endure in the long-term as a self-sustaining institution. http://longplayer.org/

Jem Finer is a UK-based artist, musician and composer. Since studying computer science in the 1970s, he has worked in a variety of fields, including photography, film, experimental and popular music and installation. Among his other works is Score For a Hole In the Ground (2005), a permanent, self-sustaining musical installation in a forest in Kent which relies only on gravity and the elements to be audible. He is currently working on a number of new projects continuing his interest in long-term sustainability and the reconfiguring of older technologies.



Radio Boredcast:
Day 25

Sun 25 March, 12am-12am
To listen click here
Read blog here

12.04am: Andrew Sharpley: Slow

2.14am: Pandit Pran Nath: Raga Cycle - Palace Theatre - Paris 1972

3.05am: Radio Boredcast Presents... Baby Blue

4.40am: Testcard Music 

4.57am: Chris Watson: Sukau - Part 5

7.35am: Kevin Nutt: Gospel Mix - Bringing Down the Holy Spirit

8.54am: Daniela Cascella: 31 Days, Slow and Still

8.59am: Kenneth Goldsmith: The Weather - Spring

10.10am: Other Minds: Steve Reich at UC Berkeley University Museum

11.13am: Dave Soldier: Timeless Radio Project

11.58am: Other Minds: Ode To Gravity - Brian Eno

1.51pm: Charlie: Busy Doing Nothing - Lazy Afternoon

2.55pm: David Toop: Slow Music

5.00pm: Radio Web MACBA Presents Son[i]a 116: Interview with Kenneth Goldsmith

5.18pm: Mr Rotorvator: Singles Collection

5.56pm: Pseu Braun and Alex Orlov: Manens in Limbo

7.00pm: Some Assembly Required: Christian Marclay

7.55pm: Matmos: Musique Concrete Hour 4

9.08pm: Ergo Phizmiz Sings Gilbert and Sullivan: HMS Pinafore

9.52pm: Gwilly Edmondez: Prayers of Descent

10.57pm: Radio Boredcast Presents... Made By Machines

11.57am: Jem Finer: Longplayer excerpt