Jez Riley French

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.

WED 7 MARCH: 12.00AM

NANCY O GRAHAM: SOMNILOQUY CYCLE – INTO MY STORY (THE RAVEN OF WHICH, WELL, I HOPE SHE STARTS QUOTHING)
Nancy Oarneire Graham creates somniloquies, or recorded sleeptalk, by repetitively reading a short text—whether from a children's story, a work of nonfiction, or her own dreams—until she begins to fall half asleep. In the twilight state between waking and sleeping, known as the hypnagogic state, visions, half-formed thoughts, and stray words begin to interrupt those read from the page, opening a window onto this borderland.

Based on excerpts from Samuel Beckett’s “Texts for Nothing.” Undertaken as a collaboration with Michael Ruby, who chose different excerpts from “Texts for Nothing” and worked with them using a different process, also on the edge of sleep.

1. SORRY BODY                                                     
What possessed you to come? We walked together, hand in hand, silent, sunk in our worlds. I could have stayed in my den, snug and dry. I say to the body, Up with you now. Home. My dwelling place.”
—Samuel Beckett, “Texts for Nothing”

2. NOW THAT THE TREES HAVE ROTTED
Where would you go, now that you know? Back above? Creaming off the garbage. Nothing terrible, nothing showed. Slowly in the head the ragdoll rotting. That’s it, that’s it, the bright side.
—Samuel Beckett, “Texts for Nothing”

3. FALLING BACKWARD
I’ll will it, will me a body. Far from the days, the far days, a ray of sunshine and a free bench. No political opinions, have silence, get into silence, into my story in order to get out of it, no. To brew poisons. It’s all I ask. What’s wrong with that?         
—Samuel Beckett, “Texts for Nothing”

4. WHAT A RELIEF TO KNOW I’M NOT A MATRIARCH 
I’d go into the forest, I’d try and reach the forest to tell another lie.  That must be the voice of reason again. I hear I have a kind of conscience under various assumed names. It’s a game, it’s getting to be a game. What a relief to know I’m mute forever, listen to that, what a relief. Ah yes, I hear, I heard, it’s noted. When silence falls against my lips where they meet, bringer of rest, let the last desert me and leave me empty, empty and silent, an infant dead in its dead mother.
—Samuel Beckett, “Texts for Nothing”         

5. NIXON’S ALIBI 
the trees were witness
complete with joys and sorrows
seeing the immensity to measure and that heads are
only wound up once,
bristles waiting to depart or let fall to the ground
in the great limpness of sleep, perhaps dreaming
it's in heaven, alit in heaven
—Samuel Beckett, “Texts for Nothing”         

6. I HEAR VOICES  
Moments of reasoning, they draw one another back, that’s how it goes, it must be supposed. Never was like that, is like nothing, moments of hesitation, not so much rare as frequent.
—Samuel Beckett, “Texts for Nothing”

7. A BED IS SOMETHING TO EMBRACE
But peekaboo here I come again, foaming at the mouth, and chewing, friendly shadows, friendly skies, but what is this evening made of and he, what did he want never saying a word, as if he didn’t know, deep in this place which is not one.
—Samuel Beckett, “Texts for Nothing”         

8. MONSTER
...but who can the greater can the less, and somewhere a hand, it wants to make a hand. A trace, it wants to leave a trace, yes, this pity that is in the air,tears in its eyes before they've had time to open and wonders what has become of the wish to know.
—Samuel Beckett, “Texts for Nothing”

Nancy Oarneire Graham's somniloquy-based poems and prose have appeared in print and online publications, including BlazeVOX, Café Irreal, Chronogram, Eratio, Invisible City, New Verse News, Pindeldyboz, Prima Materia, Listening in Dreams (by Carol Ione), and Water Writes (edited by Larry Carr). She has performed somniloquies as part of the Deep Listening Institute's Dream Festival in Kingston, New York. Her chapbook, somniloquies, is available from Pudding House Publications. http://ngram.net/


WED 7 MARCH: 3.32AM

THE NIGHT AIR: SPEEDY CONDENSATE – FOR RADIO BOREDCAST
A condensation of media dreams - with head listening, nose probes & deep sleep, a journey through light and a bicycle-speed future.

Running since 2002, The Night Air is a programme dedicated to creative radio-making on Radio National (a network of the Australian Broadcasting Corporation). Each week obliquely related material, sourced from Radio National's own archives and the media at large, is re-assembled with sonic glue - letting listeners imagine new stories.

Diane Dean was born in the UK and began her radio career with the BBC in London. She later emigrated to Australia and worked as an audio engineer, before joining the ABC as a program maker. She has a Science degree in Architecture and a Dip. Design Science in Architectural Acoustics. She has a love of discontinuity, yoga and languages.

Brent Clough began his radio career with Radio New Zealand and has previously produced and presented the Radio National contemporary music and sound arts program, Other Worlds and the world music show, The Daily Planet. He was foundation producer/presenter for the ABC features program, Radio Eye and currently presenter for 360 documentaries. He is a DJ and writer and has curated gallery projects on music and Pacific culture.

John Jacobs joined the ABC in 1985 and has engineered, produced and created many radio programs, winning international awards and establishing leading ABC innovations such as The Night Air and ABC Pool. Always looking ahead for fresh ways to present ideas and entertainment, John helped to start podcasting at the ABC. With a background in community media he was part of the team that launched the indymedia citizen journalism movement. http://en.wikipedia.org/wiki/The_Night_Air_(radio_program)
http://www.abc.net.au/rn/nightair


WED 7 MARCH: 3.45AM

PHONIC PSYCHOMIMESIS: TRAINISHNESS 
The work consists of pure trainspotting field recordings with an aim to abstract these cliche sounds from themselves. The arrangement of pieces from the different angles of the train (the drone of closer coming locomotive, slowly stopping and starting of the train, the squeaking of the tambour rubbers from the inside of the train, high frequencies of the breaks, kvasi-rhythmics of the typical train movements and the close-up of the rails) makes it hard to tell what’s exactly happening. Played, not layered, in semi-improvised manner. Just processed, no additional effects used whatsoever. Recorded in Brasa, Carnikava and Andrejsala in year 2010. http://impulsivehabitat.com/index.htm


WED 7 MARCH: 4.00AM

DOUG HORNE: SLOWRADIO 1 – FOR RADIO BOREDCAST
Doug Horne has been doing free-form radio and dabbling in audio art for the last 27 years at the radio stations CHRW, CKMS, and CFRU in Ontario Canada. His most curious achievement was curating the long-running and completely unknown audio-art show "Frequent Mutilations" on CKMS until it was over-run by cretin hordes in 2008. He has carried on audio art-based radio with the collaborative long-distance show "The Mannlicher Carcano Radio Hour" (his portion originating from CFRU in Guelph, Ontario). In his spare time Doug is an academic librarian who lives with his family and 8 chickens in a shack surrounded by sculptures made of rusty metal, and hopes one day to have an old car on blocks in his yard. http://frequentmutilations.com/Frequent_Mutilations/Home.html

PLAYLIST
Glenn Gould - The Silence in the Land
Residents - Eskimo
Field Recordings - Kitchener, Ontario, Canada
Bill Munroe - Blue Moon of Kentucky
Ledbelly - In the Pines
Roosevelt Sykes - Sweet Old Chicago
Hiledegard Westerkamp - Attending to Sacred Matters
Lonnie Johnson - Long Road to Travel


WED 7 MARCH: 5.58AM

JEZ RILEY FRENCH: A QUIET POSITION – SLOW EDITION – FOR RADIO BOREDCAST 
Almost 14 hours of work exploring aspects of duration and extended listening....

Jez riley French, Dawn Scarfe, Philip Thomas, Stephen Chase, Martin Archer

Catherine Lamb, Lauren Redhead, Matthew Sansom, Antoine Beuger, Doublends Vert,  Thelmo Chritovam, Paul Nataraj, Carlo Giordani, Darius Ciuta, Johnny Chang, Gordon Hempton, Mecha/Orga, Jennifer Allum, Eddie Prevost, Herve Perez, Sunmin Hwang, Nomi Epstein, Fergus Kelly

A quiet position: slow edition - part one
1. introduction
2. Jez riley French - ‘score for church and zither # 10’
3. Carlo Giordani - ‘Neve’
4. Thelmo Cristovam - ‘Distribuiçāo Atmosférica’
5. Darius Ciuta - ‘L-L-L’
6. Antoine Beuger - ‘Ockeghem Octets’
7. Jez riley French - ‘hedge, norfolk’
8. Sunmin Hwang - ‘Wriggler for a boring life’
9. Johnny Chang - ‘Solitary luncheon(s). Early evening church bells plus toy guitar.Concert/ Manfred Werder . Violin-Noise-Action’
10. Paul Nataraj - ‘2-8-11 morning’
11. Mecha/Orga - ’24-13’
12. Jez riley French - ‘forest trees, estonia # 2’
13. Fergus Kelly - ‘Breathing room’
14. Gordon Hempton - ‘One square inch of silence’

A quiet position: slow edition - part two
1. introduction
2. Jez riley French - ‘sheep grazing at flaxfleet’
3. Jez riley French - ‘as054 - outside boiler room’
4. Dawn Scarfe - ‘Lenses (2010)’
5. Jennifer Allum & Eddie Prevost - ‘Dolwilym Penumbrae’
6. Matthew Sansom - ‘Mêtis_Prague’
7. Jez riley French - ‘that crosses the humber’
8. Nomi Epstein - ‘Sextet’
9. Doublends Vert - ‘Cistern’
10. Lauren Redhead - ‘Overture’
11. Coast Guard All Stars - ‘main set / live’

I listen....a lot. It’s a pleasure and like most pleasures there is much to be gained by finding ways to luxuriate in its hold. In a broad definition of the term, ‘field recording’ has always been linked to extended listening, to the act of waiting for ones ears to open wider and wider. It is only the limitations of technology that allowed for the audio snapshot to slowly erode the concept of durational listening - to influence film, tv and recorded music / sound. The space available on wax cylinders and other early recoding mediums reduced discoveries to seconds or minutes. No one thought how this could, in turn, effect the way we hear the world. Much has been written or spoken about the positive effects of field recording. It is, for the most part, undeniable. However, the reduction of sound to tiny sections in order to diffuse the recordists discoveries still exerts a somewhat conventional influence even on those artists / recordists who consider themselves experimental. In fact, as is often the case, these ideas are just not considered. We must return, carrying with us the benefits of our gathered explorations, to experiencing the world unhindered by the limits of a technology. To use that technology as an addition but not to allow it to restrict our perceptions. To listen is the important part of this. To a quiet position: slow edition listen, limited only by our imagination and willingness to accept our place within environments.

For this edition of ‘a quiet position’ I have gathered pieces submitted through an open call for work considering aspects of slowness and durational listening, along with some pieces of my own. All of these are ‘recordings of fields’ - they reference the act of finding or placing sounds within environments - physical or ephemeral. The question of how these pieces are slow, durational, extended & how they can be taken as ‘field recordings’ is best left to the individual. I would only add that the field is limitless - the studio is merely a construct around a smaller field. It is how one approaches the field that is the key. (Jez Riley French) http://aquietposition.tumblr.com
http://jezrileyfrench.blogspot.com


WED 7 MARCH: 7.55PM

DANIELA CASCELLA: 31 DAYS, SLOW AND STILL

31 DAYS READING LE PONT MIRABEAU BY GUILLAUME APOLLINAIRE AT 8.30AM – FOR RADIO BOREDCAST
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


WED 7 MARCH: 8.02PM

AXEL STOCKBURGER: SLOWNESS – BOREDOM – FOR RADIO BOREDCAST
Axel Stockburger's broadcast connects slowness to the notion of boredom, touching upon subjects such as existential boredom, conceptual art and Andy Warhol's films.

Axel Stockburger is an artist and theorist who currently lives and works in Vienna. He studied at the University of Applied Arts in Vienna with Peter Weibel and holds a PhD from the University of the Arts, London. His films and installations are shown internationally. Among other projects he has initiated the independent art television channel TIV in Vienna in 1998 and collaborated on international projects with the London based media art group D-Fuse (2000-2004). At present he works as scientific staff member at the Department for Visual Arts and Digital Media / Academy of Fine Arts in Vienna. http://www.stockburger.at/


WED 7 MARCH: 9.02PM

ERGO PHIZMIZ SINGS GILBERT AND SULLIVAN: THE MIKADO - FOR RADIO BOREDCAST
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 (these recordings are my second takes - the first takes sounded like The Goon Show and to be honest I had far too much fun doing them for it be genuinely boring), 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


WED 7 MARCH: 10.09PM

SOME ASSEMBLY REQUIRED: DJ FOOD
Jon Nelson is the host and producer of the nationally syndicated radio program Some Assembly Required. He's also a collage artist and curator. http://www.some-assembly-required.net

PLAYLIST 
DJ Food – “Break”
DJ Food – “The Riff”
DJ Food – “Cookin'”
DJ Food – “The Ageing Young Rebel”
DJ Food – “Raiding the 20th Century - Words & Music Expansion (Part 3)”
DJ Food – “Raiding the 20th Century - Words & Music Expansion (Part 4)”
DJ Food – “Sunvibes”


WED 7 MARCH: 11.02PM

MR ROTORVATOR: DUST BUSTERS – FOR RADIO BOREDCAST
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.

 

TOP

Radio Boredcast:
Day 7

Wed 7 March 2012, 12am–12am
To listen click here
Read blog here

DAY 7 SCHEDULE:

12.00am: Nancy O Graham: Somniloquy Cycle: Into My Story (the raven of which, well, I hope she starts quothing)

3.32am: The Night Air: Speedy Condensate 

3.45am: Phonic Psychomimesis: Trainishness

4.00am: Doug Horne: Slowradio 1

5.58am: Jez Riley French: A Quiet Position - Slow Edition

7.55pm: Daniela Cascella: 31 Days, Slow and Still

8.02pm: Axel Stockburger: Slowness-Boredom

9.02pm: Ergo Phizmiz Sings Gilbert and Sullivan: The Mikado

10.09pm: Some Assembly Required: DJ Food

11.02pm: Mr Rotorvator: Dust Busters