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.
THU 8 MARCH: 12.09AM
LANGUAGE REMOVAL SERVICES: SAMPLER V2
Chris Kubick is an artist, composer and sound designer who works under a variety of pseudonyms, including Language Removal Services, an institute and laboratory founded by one Dr. Raymond Chronic that may or may not exist solely as the web site www.languageremoval.com.
Kubick frequently collaborates with Anne Walsh, and together they have created ARCHIVE, whose best-known project, entitled Art After Death consists of interviews with artists who have died conducted through spirit mediums. Together their work has appeared in the 2002 Whitney Biennial and at the Yerba Buena Center for the Arts, San Francisco; the Museum of Contemporary Art, Los Angeles; and the Royal College of Art, London. Kubick has been heard on public radio in the U.S., Canada and Great Britain.
THU 8 MARCH: 12.46AM
ASCII IPA is a way to represent speech using a computer keyboard. This is the full version showing American, British, and some other European pronunciations.
On the newsgroup alt.usage.english we often want to represent the way we speak. It's dangerous to make statements such as "bother rhymes with father" or "father sounds like farther" because, for many people, those statements aren't true. Besides, nobody knows how you say bother and farther. To get round the problem, we use a notation called ASCII IPA. We all agree on what sound each symbol represents, regardless of our own accents. ASCII IPA is similar to the International Phonetic Alphabet used in modern dictionaries, but it uses the symbols available on most computer keyboards. [For a full description of the International Phonetic Alphabet, see the Web site of the International Phonetic Association at http://www.langsci.ucl.ac.uk/ipa/. The IPA symbols shown on this page are from the 1979 revision of the International Phonetic Association's IPA Chart. For that reason, some of the symbols shown may not be the same as those shown in later revisions of the Phonetic Association's chart. http://www.alt-usage-english.org/ipa/ascii_ipa_combined.shtml
THU 8 MARCH: 1.05AM
OLD SHIPPING FORECAST
THU 8 MARCH: 1.08AM
PRIMATE ARENA PRESENTS MAN MOUNTAIN SNORE – FOR RADIO BOREDCAST
Man Mountain Snore is a set of realizations and procedures for the collective realizations of pieces based on recordings of people’s snores. This hour long excerpt is extracted from the germinal recording, which lasts 5 hours and 30 minutes.
Hosted by Eran Sachs and Alex DROOL, PRIMATE ARENA is a bi-weekly freeform happening for experimental & out muzak events (mostly in Tel Aviv), dedicated to Psych, EAI, Noise, Speech/Sonic/Concrete Poetry, Avant Rock, post millennial obscurities, pre millennial obscurities, the history of 20th century experimental music & other adventurous ventures. Over the past three years they have created a platform - central to Tel Aviv's now vibrant, thriving scene - that has nurtured a community of adventurous local musicians including Maya Dunietz and Yoni Silver and hosted visiting internationals such as Blood Stereo, Jérôme Noetinger, Usurper, Arnaud Rivière, Ignatz Schick, Daniel Padden, Bob Ostertag and many others.
THU 8 MARCH: 2.10AM
POREST: MOROCCO, JORDAN, SYRIA, TURKEY, LAOS, THAILAND – FOR RADIO BOREDCAST
Don’t be put off by this rote and obvious title. Instead, be loosely transported from west to east – Morocco to Thailand - via sound, music and radio transmissions recorded between the years 1997 & 2010 in the aforementioned locations.
Porest – aka Mark Gergis is a composer, performer, producer and international audio/visual archivist. Under the name Porest, he has released several solo and group efforts incorporating multi-layered music, pop songs, audio collage, field recordings, and surrealistic radio dramas. Gergis was a co-founder of the experimental Bay Area music and performance collective Mono Pause (1993 -2004) and its offshoot Neung Phak, which performs inspired renditions of music from Southeast Asia.
Since 2003, with the Sublime Frequencies label, an ethnographic music and film collective out of Seattle, Washington – and more recently, with his own record label – Sham Palace, Mark has found a platform to aptly share decades of research and countless hours of archived international music, film footage and field recordings acquired during extensive travels in the Middle East, South East Asia and elsewhere. Mark has managed and produced Syrian singer Omar Souleyman and his group from Northeastern Syria since 2006. http://www.porestsound.net/home
THU 8 MARCH: 3.42AM
STEPHEN P MCGREEVY: MUSIC OF THE MAGNETOSPHERE
THU 8 MARCH: 4.36AM
FENNESZ: LA PETITE CHAPELLE – MORNING
From Spire: Live at The St. Pierre Cathedral, Geneva
THU 8 MARCH: 5.00AM
TRANSMUTEO: EPISODE 1 – ENTERING THE CRYSTAL CATHEDRAL – FOR RADIO BOREDCAST
Transmuteo is the audiovisual, multimedia project of Jonathan Dean, along with various collaborators, visual and musical. The project encompasses sound, live performance, video, visual art, gallery installation and experimental social networking. The sound of Transmuteo is inspired by new age music, especially the pioneering 1970s and 80s work of artists such as Iasos, Bearns & Dexter, Steve Halpern and Malcolm Cecil. New age beliefs - Dolphin Consciousness, The Melchizedek Method, crystal healing, Angelic Reiki - provide a conceptual basis for the project. The music utilizes samples, environmental sounds, found and prepared cassettes, effects pedals, synths and analog drone to create dense, textural, psychedelic music that revels in the shining artifice of the New Age.
For Radio Boredcast, Transmuteo has created four special one-hour broadcasts that collect meditative sounds from various musicians, along with exclusive pieces created by Transmuteo especially for the Boredcast. Along the way, you will hear guided meditations, channeled messages, interview excerpts, descriptions of advanced spiritual technologies, as well as the inspirational words of your host, one of the Atlantean Starseeds of Transmuteo.
01 Bearns & Dexter - Quasars | The Golden Voyage Vol. 1 | Awakening Productions, 1977
02 Iasos - Crystal-White-Fire-Light | Elixir | Inter-Dimensional Music, 1983
03 Ashra - Ocean Of Tenderness | New Age Of Earth | Virgin, 1977
04 Dolphins Into The Future - Ke Ala Ke Kua | Ke Ala Ke Kua | K-RAA-K, 2010
05 Oneohtrix Point Never - Format & Journey North | Zones Without People | Arbor, 2009
06 Michael Stearns - Something's Moving | Planetary Unfolding | Continuum Montage, 1981
07 Dylan Ettinger - The Waterfront | New Age Outlaws | Not Not Fun, 2010
08 Transmuteo - Timeless Emergence | Cymaglyphs | Rotifer Cassettes, 2011
09 Edward Larry Gordon - Bethlehem | Celestial Vibration | SWN, 1978
10 Ray Lynch - The Oh Of Pleasure | Deep Breakfast | Ray Lynch Productions, 1984
11 Hieroglyphic Being - The Visitation | So Much Noise 2 Be Heard | Mathematics, 2009
12 Iasos - Lueena Coast | Inter-Dimensional Music | Unity Records 1975
13 Joel Vandroogenbroeck - Magnetic Blues | Images Of Flute In Nature | Cenacolo, 1978
14 Chris Spheeris - Tibet | Electric Europe | Columbia, 1982
15 Constance Demby - Part One | Novus Magnificat: Through The Stargate | Hearts of Space, 1986
The project began in early 2011 in Tallahassee, Florida, where several multimedia performances were mounted which combined video, music and group meditation. The debut release for the project was released on July 15th of 2011, a cassette entitled Cymaglyphs on the Rotifer Cassettes label, based in Northern California. The small edition of the tape sold out in a week. February 2012 saw the release of Dreamsphere Megamix, a 90-minute cassette that utilizes binaural technology to induce a series of energetic awakenings in the listener. A special edition of the cassette is accompanied by a limited edition book containing digital art by Transmuteo, along with instructions for "dreaming awake" in the New New Age. The Atlantean Starseeds of Transmuteo are currently based in New Orleans.
THU 8 MARCH: 6.00AM
PSEU BRAUN AND ALEX ORLOV: MANENS IN LIMBO – FOR RADIO BOREDCAST
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
THU 8 MARCH: 7.02AM
NULA PRESENTS… FOR RADIO BOREDCAST
55875 partly consists of field recordings from spain from urban and seascape environments, and also includes sound ambiences drawn from the 1936 film 'by the bluest of seas'.
nula.cc began in 2009 as a series of filecasts emanating from an online presence. The aim of the project has been left somewhat vague, which serves a twofold purpose: to allow for free experimentation with the understanding that outcomes are necessarily unpredictable; and, to let the online collection and the works it contains speak for themselves as much as possible.
As it turns out, a substantial number of the nula filecasts are audio works (tho video and other media also appear in the collection). Many of these audio works are "slow" in the sense that they unfold gradually (if at all) or set an atmospheric tone that runs for an extended time. This, too, serves a dual purpose: it allows for a kind of "deep" listening and it also allows the work to be used atmospherically as a backdrop to other experiences.
I have assembled several sequences, each combining sound from two or three of the filecasts, sometimes substantially altered from the versions that appear at nula.cc. I have tried to make each sequence work as a cohesive whole. I invite listeners to visit nula.cc and explore there for further works of this kind.
Lloyd Dunn, Prague, 2011, http://nula.cc/
THU 8 MARCH: 7.32AM
OTHER MINDS: WORLD EAR PROJECT – US NAVAL SUPPLY CENTER
Several recordings made by Charles Amirkhanian from a backyard on Magnolia Bluff overlooking the U. S. Naval Supply Center railroad yard in Seattle, Washington, on Aug. 12, 1970. Recording from Naval Capt. John Hansen’s house at 1963 23rd Ave. W. at several points during the day (7:17 PM to 7:30 PM and 11:36 PM to 11:48 PM) with the mic in a couple of slightly different locations, Amirkhanian captures the sounds of trains squealing and seagulls crying and other ambient sounds. http://www.archive.org/details/WEP_1970_08_12_02
THU 8 MARCH: 8.03AM
KEN’S LAST EVER RADIO EXTRAVAGANZA: GO AT THE SPEED YOU’D LIKE TO GO
"Today, our whole downtown is completely enclosed, and we have a welcome neighbor: A GE nuclear power plant."
Show #359, from 22-March-2005
Samples include Wendy Carlos, John Ashcroft, Disneyland, Disco Polka, Tony Shalhoub, WarGames, Mogwai, Diane Cluck, and many others, at many speeds.
Playlist of all samples used:
Ken's Last Ever Radio Extravaganza has been creating his ever-changing live improvised sound collage experiment for the past 18 years, weaving mesmerizing new soundscapes from found and collected materials right in the present moment, performed from stages, radio stations, cement bunkers, construction sites, experimental dance spaces, tree houses, and elsewhere.
Audio archives: http://lastever.org
"Looks like tomorrow is already here."
THU 8 MARCH: 9.05AM
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
THU 8 MARCH: 9.08AM
VENERABLE MAHINDA: GUIDED MEDITATION ON METTA AND MIND
Born in Malaysia, Ven. Mahinda was ordained as a Buddhist monk in the Theravada tradition 20 years ago under the tutelage of Ven. Dr. K. Sri Dhammananda. He undertook Buddhist studies and training in Sri Lanka (1977-1982) and practice Buddhist meditation under several masters in Sri Lanka, India, Myanmar and Thailand.
Guided Meditation on Metta and Mind
Dhamma Talk - The Practice and Benefits of Metta
Metta Sutta in Pali and English
Venerable Mahinda is currently the Abbot of Aloka Meditation Centre, NSW, Australia. He has given lectures and seminars on Buddhism, meditation and its application in daily lives at many high schools, universities and community organisations. His attendance at international conferences and interfaith dialogues have taken him to more than 30 countries. http://www.dhammaweb.net/mahinda.html
More Buddhist audio at http://freebuddhistaudio.com
THU 8 MARCH: 9.54AM
RADIO BOREDCAST PRESENTS… VEXATIONS
Vexations - side A [composed by Erik Satie] - Reinbert de Leeuw
Vexations, Version 1 - Jimi Tenor
Pianoless Vexations (Sculpture Center, NYC, June 11 2006) - David Grubbs
Vexations 1801 (Satie-Schabata-Schwaller) - The Vienna Art Orchestra
Vexations, Version 2 - Jimi Tenor
Pianoless Vexations (Sculpture Center, NYC, June 11 2006) - Bruce Arnold Jazz Trio
Vexations, Version 3 - Jimi Tenor
Vexations - side B [composed by Erik Satie] - Reinbert de Leeuw
THU 8 MARCH: 11.54AM
STEVE REICH: MUSIC FOR 18 MUSICIANS SECTION V
THU 8 MARCH: 12.00PM
RADIO BOREDCAST PRESENTS… SOUNDS FROM THE ETHER
Throughout the month, Radio Boredcast is making selections of themed music that fit the As Slow As Possible subject, either in an obvious or more ethereal way. Sounds from the Ether should be taken both literally and symbolically in that we are featuring both radio recordings of "the ether" and also interviews with "the other world", and also using unidentified recordings and music with an other-worldly atmosphere.
Oyenbo Liaso (via VOA) - 7/17/2005, 15445 kHz (1948 UTC) - Kiké Lomo
11/20/2005, 9251 kHz (1907 UTC) - The Lincolnshire Poacher (E3)
Track 01 - Art After Death Vol. 2 - Yves Klein Speaks!
Track 02 - Art After Death Vol. 2 - Yves Klein Speaks!
Track 03 - Art After Death Vol. 2 - Yves Klein Speaks!
Radio Republik Indonesia - Unknown Artist - Sublime Frequencies
Track 04 - Art After Death Vol. 2 - Yves Klein Speaks!
Track 05 - Art After Death Vol. 2 - Yves Klein Speaks!
Track 06 - Art After Death Vol. 2 - Yves Klein Speaks!
Track 07 - Art After Death Vol. 2 - Yves Klein Speaks!
Qu'ran chanting - BSKSA, Saudi Arabia (Riyadh)
Track 08 - Art After Death Vol. 2 - Yves Klein Speaks!
Track 09 - Art After Death Vol. 2 - Yves Klein Speaks!
Track 10 - Art After Death Vol. 2 - Yves Klein Speaks!
Speed of Light - Jonathan Borofsky aka Jonnie Hitler
Piano Etude I (Alpha) - David Rosenboom
Tell Tale 2.1 - David First
THU 8 MARCH: 1.00PM
ED PINSENT: JAP MIX – FOR RADIO BOREDCAST
Almost all of these Japanese rock bands come from the late 1990s - early 2000s and were labelled as part of a "psych-garage" movement of some sort; some of them were represented on a compilation called The Night Gallery in Japan, and Chris Moon did much to represent their work on his Last Visible Dog label in America. Unlike their immediate predecessors (the speed-freak psychedelic bands like High Rise, Marble Sheep, White Heaven and others who appeared on the Tokyo Flashback compilations), these bands sang dirge-like songs and had incredibly slow drumming along with their twangy reverbed guitars. As such they seemed to me to have a lot in common with Les Rallizes Denudes, a much earlier band who had formed in 1967 and continued playing until 1996, so I have included here a 1977 song by this band which surfaced on a French bootleg CD set. Tsurubami don't quite fit the theme, being benign psychedelic hippie types and an offshoot project from Acid Mothers Temple.
Much as I love this music, I also find a lot of it incredibly slow and boring to listen to, and often wonder how the musicians managed to maintain the rigid discipline needed to keep each song at the correct pitch of inertness. I think Les Rallizes Denudes excelled at doing this, and although they are held in high regard by many listeners, I find their interminable music mostly miserable and insufferable. I thought it would be interesting to compress as much as possible of these mixed emotions into the required hour-long slot, and aimed to deliver a sublimely tedious listening experience. Each song was selected with that aesthetic in mind, and accordingly the Doodles track was edited slightly to remove the upbeat ending segment to their song.
The nine tracks are played more or less in the following order, but with overlaps; at any one time in the piece there will be at least two simultaneous playbacks. English translations of some titles are supplied in square brackets.
01 Tsurubami, 'Hitsumyou O Gotoshite' (31:30) From Kaina, US LAST VISIBLE DOG LVD023 CD (2003)
Recorded in 2000 and originally released as a CDR by the same label.
02 LSD-March, '立体ランプ 明日のゴダール' (9:23)
[The Lamp - Tomorrow's Godard]
From Suddenly, Like Flames, US LAST VISIBLE DOG LVD064 CD (2005)
Originally issued as 突然炎のごとく, JAPAN WHITE ELEPHANT
RECORDS WER-001 (2002)
03 Doodles, '砂語り' (6:37)
From The Night Gallery, JAPAN ALCHEMY RECORDS ARCD-147 (2003)
04 LSD-March, '嵐の終わりに' (8:19)
[After The Storm (Alternate Version)]
From Suddenly, Like Flames, op cit.
05 Kousokuya, '移り' (15:06)
From 1st, JAPAN PSF RECORDS PSFD-132 CD (2003)
Recorded between August 1989 and June 1990.
Originally issued as RAY NIGHT MUSIC RNM0001 LP (1990)
06 Chouzu, '祈請' (7:48)
From The Night Gallery, op cit.
07 Les Rallizes Denudes, 'The Last One' (25:24)
From Le 12 Mars 1977 À Tachikawa,
FRANCE OVER LEVEL OVER 001CD (2003)
08 Miminokoto, 'Subeteha' (7:32)
From ライブ [Live] , USA LAST VISIBLE DOG LVD 048 (2003)
09 LSD-March, '悲しみの美少年' (6:48)
From The Night Gallery, op cit. Ed Pinsent is an artist, writer and broadcaster living in London. He is the creator of The Sound Projector, an annual music magazine which he edits and publishes himself, and a radio show of the same name for Resonance 104.4 FM. http://www.thesoundprojector.com
THU 8 MARCH: 2.01PM
DANIEL MENCHE – FOR RADIO BOREDCAST
Daniel Menche presents his best of collection of found acetate home recordings from the 40s and 50s. Simple folks making their first recordings in their homes without any intention of non family members hearing them. These acetate records were collected from the homes of the deceased of the voices heard in these recordings. Also mixed in are various sound/noise and field recordings from Daniel Menche. All mixed together for a soundtrack to a really slow dream... record scratches and all.
0:00 - 4:45 Unknown Acetate Home Recordings from 1940s-50s
4:45 - 11:13 Daniel Menche: Recordings of roller skate rink with live organ (stereo shuffle mix)
11:13 - 14:10 Unknown Acetate Home Recordings from 1940s-50s
14:10 - 22:10 Daniel Menche: Rain falling on various metal objects.
22:10 - 26:55 Unknown Acetate Home Recordings from 1940s-50s
26:55 - 33:05 Daniel Menche: Raw field recording of buzzing electrical wires captured in the far mountains.
33:05 - 42:40 Mixing two different home acetate records of Japanese women signing Buddhist chants from 1940s
42:40 - 54:00 Daniel Menche: Bowed musical bass saw mix
54:00 - 1:02:45 Unknown Acetate Home Recordings from 1940s-50s
1:02:45 - 1:18:30 Daniel Menche: Fuzzed-out Electric Rhodes Piano drones
1:18:30 - 1:29:43 Unknown Acetate Home Recordings from 1940s-50s
Music Biography for Daniel Menche: http://danielmenchebiography.blogspot.com
THU 8 MARCH: 3.32PM
TIM MALONEY: MR SUGGS’S SHINY BEETLE HAT – FOR RADIO BOREDCAST
MSSBH began life as a turgid short story, written in an attempt to prove that a certain brand of screenwriting software was actually crap. It was, and so was the story, which no one would read, regardless of the amount offered. This new presentation, however, is bound to be the smash hit on radio I have always wanted. A little known fact about this piece is that it is entirely composed of birdsong, painstakingly recorded and edited, stretched, squeezed, modified, and modulated to sound like "synthesizers," "drums" and even "a narrator." Even more amazing is that it consists only of the songs of common sparrows found outside my window when I am feeling melancholy. Perhaps the most startling, amazing, and downright awesome wicked aspect is that encoded in between the birdsong are secret subliminal instructions which, if all goes according to plan, will mobilize a good quarter of the listening audience (+/- 12% standard deviation) into my zombie apocalypse army. WHICH YOU CANNOT STOP.
Tim Maloney is an American filmmaker and animator who has made films for the band Negativland, the Walt Disney Company, and the Los Angeles County Museum of Art, to name the strangest bedfellows. His work has been screened at the PFA, SF MOMA, the ICA, MIT, amongst others. http://www.nakedrabbit.com
THU 8 MARCH: 4.10PM
CODPASTE WITH PEOPLE LIKE US & ERGO PHIZMIZ: COLLAGE
When does it stop being completely isolated from the rest of the universe and step into the world of collage, adding another patch to the huge quilt of sounds that have gone before? People Like Us "start at the very beginning" and try to find out. Features sounds from Noah Creshevsky, DJ Earlybird, Brion Gysin and Kid Koala, amongst many others. http://wfmu.org/playlists/shows/25942
"Codpaste" was a weekly podcast series in which the two artists People Like Us and Ergo Phizmiz attempted to compose collage music from the very beginning, in a "work in progress" style, attempting to open up the creative process. The theory is that it is rare to see compositions made from the outset, and usually the audience are only invited in once the piece is finished, done and dusted. It could be that new light may be shed on the creation of art if the curtains are opened and the audience are given access to the raw, the imperfect and the wrong as well as the polished and the finished.
THU 8 MARCH: 5.02PM
MATMOS: MUSIQUE CONCRETE HOUR 2 – FOR RADIO BOREDCAST
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/
THU 8 MARCH: 6.05PM
KENNETH GOLDSMITH READS AT WALKER ART CENTER
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. http://epc.buffalo.edu/authors/goldsmith/
THU 8 MARCH: 6.49PM
MOUTHCRAZY: BLUE GREY BLUE GREEN
Blue Grey Blue Green is a track taken from the album Open / Open Wide by the band Mouthcrazy. The album was released as a limited edition vinyl by American label Ecstatic Yod in 1996. Mouthcrazy are Sharon Gal – Voice & Electronics, Richard Young – Bass, Justin Harries – Guitar/ Keyboard. Blue Grey Blue Green is a slow evolving free improvisation and was recorded the first time the band played together.
THU 8 MARCH: 7.02PM
RADIO WEB MACBA PRESENTS COMPOSING WITH PROCESS: PERSPECTIVES ON GENERATIVE AND SYSTEMS MUSIC 4.2
BY MARK FELL AND JOE GILMORE
Ràdio Web MACBA is the Museu d'art contemporani de Barcelona (MACBA) online radio project. http://rwm.macba.cat
Curated by Mark Fell and Joe Gilmore. Narrated by Connie Treanor.
Each episode of this series is followed by a special accompanying programme of exclusive music by leading sound artists and composers working in the field. This show presents two works, the first by American composer Laurie Spiegel, followed by an excerpt of the soundtrack of a theatre play by Japanese composer Terre Thaemlitz.
01:49 Laurie Spiegel 'A Harmonic Algorithm', 2011 (20' 24")
22:16 Terre Thaemlitz 'Substitution (Part 3: Questions)', 2011 (11'47")
THU 8 MARCH: 7.38PM
WHEELIE HOUDINI: SEASICK DISCO – FOR RADIO BOREDCAST
Wheelie Houdini Presents summusikfrdiskodancingpartys volume 30 - Special Seasick Disko Edition. This mix came about originally, as a way to capture (mostly) recent tracks that create perceptive and tempo slippages inside various dance music genres. Many of the tracks were chosen because they exclude sensations of deceleration, drag and lurch - a kind of seasick disco mix, if you will. None of the tracks have been altered or time stretched, except by + or - 5 BPM in order to mix them together smoothly. Average tempo of the mix is 100 BPM - slow, by dancing standards.
King Midas Sound - Cool Out
Babe Rainbow - Screwby
Bjørn Torske - Versjon Wolfenstein
Invisible Conga People - In A Hole
Tobias - Free No.1
Chloe - One Ring Circus
Siriusmo - WoW - Modeselektor Edit
BNJMN - Depressure
Andy Stott - Love Nothing
Forest Swords - Miarches
Jan Jelinek - Planeten In Halbtrauer
Battles - Inchworm
Patrick Pulsinger - Impassive Skies
Actress - The Kettle Men
Memotone - Multicolour
Venetian Snares - You Discovered The Secret
Oni Ayhun - Meets Shangaan Electro
Blondes - You Mean So Much To Me
Rondenion - Dark Adaption
Horror Inc - Creepuscule
Wheelie Houdini is the alter DJ ego of Patti Schmidt. Once the host and producer of Canadian underground radio program, Brave New Waves on the CBC, she now spends her obsessive music time curating and programming for Montreal's festival of electronic music and digital creativity, Mutek.
THU 8 MARCH: 9.09PM
OTHER MINDS: THE HISTORY OF SOUND POETRY
The History of Sound Poetry: An Introduction (November 14, 1976)
Charles Amirkhanian traces developments in 20th Century text-sound composition, including recorded examples by such historical figures as Kurt Schwitters, Raoul Hausmann, Ernst Toch, Gertrude Stein, Mauricio Lemaitre, François Dufrene and Henri Chopin. http://www.archive.org/details/HistoryOfSoundPoetry
THU 8 MARCH: 10.19PM
GWILLY EDMONDEZ SINGS… CHART SWEEP 1 – FOR RADIO BOREDCAST
We asked Gwilly to put on some headphones and sing along with Chart Sweep 1 specially for Radio Boredcast. Why? Because we can.
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:
THU 8 MARCH: 11.09PM
MICHAEL RUBY: FLEETING MEMORIES – FOR RADIO BOREDCAST
This is a collection of memories that popped into my mind over a period of seven years at work, as a copy editor at The Wall Street Journal, across the street from the World Trade Center. As far as I can tell, the memories came from nowhere, with no relation to the mostly political articles I was editing about the Republican takeover of Congress, the government shutdown, Monica Lewinsky, the Starr Report, the downfall of Newt Gingrich, impeachment, Florida or Bush v. Gore. Many of the memories are glimpses of places, a street corner and nothing more, as if a major function of the mind were this continuous global positioning, this continuous murmuring, “Right now, I’m at the southeast corner of 10th Ave. and 64th St.” The places are distributed fairly evenly over the course of my life, with a somewhat disturbing precedence given to the streets around my childhood home at 251 Montrose Ave. in South Orange, N.J.
I first became aware of these memories in my twenties, but it wasn’t until my mid-thirties that I really paid attention to them. A cascade began when I learned that my wife, Louisa, was pregnant with our first child, Charlotte, in 1993. A few years later, when I was taking care of identical-twin babies, Emily and Natalie, as many as three memories would pop into my mind while I was changing a single diaper. I tended to view them as memories being killed off by the brain. This was the last time they would enter my consciousness—at least until I short-circuited the dynamic. Maybe so many memories popped up because a powerful new experience was killing out an old experience, taking over its “engram,” or whatever. I didn’t have a chance to write down many memories, which are truly fleeting, during child care. Almost all the memories in this book were written in the right-hand margin of a sheet I filled out every day at work with the names and headline sizes of the stories I handled. Usually, a memory or two a day would float up, sometimes more, sometimes none. The most that ever floated up was nine, I think. At the end of my shift, I would copy them into a little notebook, often to some raillery from Josh Rosenbaum, Peter Saenger or Tom Walker. I, of course, was happy to accomplish some psychic research at work. In later years, I would make a photocopy of the story sheet and add it to the pile in my desk drawer, turning in the original to the copy chief with the memories in the margin erased.
This steady drip of memories through the years, this slow accretion, began to dry up in the beginning of 2000. In the third week of the new millennium, I was loaned for a few months from the national news department to the foreign department, where they didn’t fill out story sheets. When I returned to national news, we had finally shifted from our antiquated CSI computer system to a new one, Hermes, which enveloped much more of my mental space. I started recording memories again, but at a diminished rate. Instead of a couple a day, there was only one a week. That’s where things stood on September 11th. Our building, the so-called World Financial Center 1, was severely damaged by the collapse of the south tower of the World Trade Center. The newspaper was dislocated to South Brunswick, N.J. I knew that years worth of memories, hundreds of copies of story sheets, were entombed in my desk. From the fragmentary reports available to us about the state of our offices, it sounded like my memories would be fine, a bit dusty at worst. I didn’t care about them inordinately anyway, because my impulse had waned. During that October, a few people were allowed to retrieve computer hard drives and the like from the WFC, but it was discouraged, and I figured I could wait until the dust settled. Then, we learned the copy desk was being permanently transferred to South Brunswick. Workmen were going to gather our belongings on the 9th floor of the WFC, take them to another floor, vacuum off any toxic dust, then box and ship them to South Brunswick. People who didn’t know me would be handling my things—a recipe for disaster. The story sheets looked so unprepossessing someone could easily throw them out. Special dispensations were possible, but again discouraged. It took me about one second to decide to seek one. I walked over to the “wartime cubicle” of Cathy Panagoulias, my former boss, who was in charge of the move. “Cathy, you’ve got to save me. I’ve got the last part of a book manuscript in my middle desk drawer at 200 Liberty.” “What is it?” “I know this might sound flaky, but you know the story sheets we fill out? Every day I wrote a couple of memories in the margins.” Cathy rolled her eyes, but said OK. A few days later, I was notified that a special delivery of my things could be retrieved in the basement of Building 5 in the South Brunswick complex. The vast space was mostly empty, with a few small islands of boxes on the concrete floor, but I learned that in a month 15,000 boxes would be there. My unconscious out-of-order autobiography was safe, along with everything else, including the much-maligned pile of newspapers I always had on top of my desk. I was pleased in a way to find that my last memory was from September 10th, and that it was portentous. If our building had been destroyed by the attack, as one might have reasonably expected, all the memories after number 1035 would have been lost.
MICHAEL RUBY is the author of five poetry books: At an Intersection (Alef, 2002), Window on the City (BlazeVOX, 2006), The Edge of the Underworld (BlazeVOX, 2010), Compulsive Words (BlazeVOX, 2010) and The Star-Spangled Banner (Dusie, 2011). His trilogy, Memories, Dreams and Inner Voices, is forthcoming in Spring 2012 from Station Hill Press, and includes Fleeting Memories, an Ugly Duckling Presse ebook, and Inner Voices Heard Before Sleep, an Argotist Online ebook; his poetry book American Songbook is forthcoming in Fall 2012 from Ugly Duckling. A graduate of Harvard College and Brown University’s writing program, he lives in Brooklyn and works as an editor of U.S. news and political articles at The Wall Street Journal.
STATEMENT ABOUT “POETRY AND SLOWNESS,” THE FESTIVAL THEME OF “AS SLOW AS POSSIBLE”
In the 1980s, when I was in my twenties, I tried and failed to write a manifesto about poetry. It began: Poems slow the reader down. A good story makes readers want to leap ahead and find out what happened. A good poem makes readers slow to a halt, lose themselves in the present of these few words, perhaps even going backward, realizing that there's more in what they passed than they thought. It forces them to regard each word, to try to join the writer in selecting each word. Words break free from their contexts. If we accept the view of Roman Jakobson, in fiction and nonfiction, the communication/mimesis predominates; in poetry, the words themselves predominate. The signifier over the signified.
LANGUAGE poetry, by destroying conventional syntax, by putting words next to each other that don't normally go together, forces the reader to read one word at a time. In a formal sense, it's pure poetry. But what a sacrifice it makes to guarantee its purity. Compare Clark Coolidge and Shakespeare, which is also pure poetry.
One way the writer causes the reader to slow down is by writing one word at a time. However, prose can be written that way, too. So what lets poetry further "charm" language? The weight at the end of each line that we have to keep pushing aside? The cliche that a poem can't be paraphrased is another way of saying this. It's this that makes Stein and Zukofsky such radical figures in our tradition, though perhaps descendants of Rimbaud and Mallarme, who, in “Un Coup…,” partially accomplished this by spacing out the words.
Here are some related fragments: It was in this period that it became important for me not to talk to anyone when I was writing, to completely sequester myself from other people. Writing poetry became an alteration in my relationship to language, a glacial slowing of the rate at which words come to me. Poetic composition became a glacial slowing of the rate at which words come to me. Poems slow down the flow of language to one word at a time.
As I continued writing poetry in the 1990s and after, these ideas became somewhat dormant within me, and inapplicable to some of my books. But I have always believed that poetry is a slowing down of the speed at which words come to me, both in reading and in composition. Compared with speaking or email-writing, poetic composition is a glacial slowing of the rate at which words come to me, ideally to one word at a time, or even one syllable at a time. “One word at a time”: That’s what I saw in Shakespeare and Frank O’Hara in the early ‘80s, that’s what I learned from Clark Coolidge in the early ‘90s. I believe there is nothing more antithetical to poetry than the high-speed performance of it, and I don’t understand why many experimental poets read their poems so rapidly.
THU 8 MARCH: 11.46PM
ACID MOTHERS TEMPLE AND THE MELTING PARAISO U.F.O: IN C
DAY 8 SCHEDULE:
12.09am: Language Removal Services: Sampler V2
1.05am: Old Shipping Forecast
1.08am: Primate Arena Presents: Man Mountain Snore
2.10am: Porest: Morocco, Jordan, Syria, Turkey, Laos, Thailand
3.42am: Stephen P McGreevy: Music of the Magnetosphere
4.36am: Fennesz: La Petite Chapelle - Morning
5.00am: Transmuteo: Episode 1 - Entering the Crystal Cathedral
6.00am: Pseu Braun and Alex Orlov: Manens in Limbo
7.02am: Nula Presents...
7.32am: Other Minds: World Ear Project - US Naval Supply Center
8.03am: Ken's Last Ever Radio Extravaganza: Go At The Speed You'd Like To Go
9.05am: Daniela Cascella: 31 Days, Slow and Still
9.08am: Venerable Mahinda: Guided Meditation On Metta And Mind
9.54am: Radio Boredcast Presents... Vexations
11.54am: Steve Reich: Music for 18 Musicians Section V
12.00pm: Radio Boredcast Presents... Sounds From The Ether
1.00pm: Ed Pinsent: Jap Mix
2.01pm: Daniel Menche
3.32pm: Tim Maloney: Mr Suggs's Shiny Beetle Hat
4.10pm: Codpaste with People Like Us & Ergo Phizmiz: Collage
5.02pm: Matmos: Musique Concrete Hour 2
6.05pm: Kenneth Goldsmith Reads at Walker Art Center 23-02-2006
6.49pm: Mouthcrazy: Blue Grey Blue Green
7.02pm: Radio Web MACBA Presents: Composing With Process
7.38pm: Wheelie Houdini: Seasick Disco
9.09pm: Other Minds: The History of Sound Poetry
10.19pm: Gwilly Edmondez Sings... Chart Sweep 1
11.09pm: Michael Ruby: Fleeting Memories
11.46pm: Acid Mothers Temple and the Melting Paraiso U.F.O: In C