<div align="right"><h3><b>audio/video streaming program schedule</b></h3></div> <div align="right"><b>17. January 2008 from 21:00 till 22:30 hours [CET]</b></div>

| Jaromír Typlt | Mutated public reading, interpretation of the text "Game Plane" by Mikulas Medek, 1963

| Martin Ježek | Improvised sound performance based on Milan Grygar's scores, around 1968.

| Uran Uran (sk) | Experimental Dj set inspired by "Broken Music" by Milan Knizak, 1965.

| EBU reloaded | An improvised remix of EBU satellite channels.

| Lloyd Dunn (cz/usa) | Micro sample re-interpretation of Jan Rychlík's "African Cycle", 1962.

| Michal Kindernay: trans*oph |
| music co-operation: Petr Vysohlíd | An audio-visual rescript of the work of Alois Piňos, composer and theoretician, representative of New Music, ca. 1970

| Jaromír Typlt |

Mutated public reading, interpretation of the text "Game Plane" by Mikulas Medek, 1963

"And it's a black hollow, a hollow of the plane and a plane of the hollow that raises attention in its top right corner and turns it against itself to generate ripples of unrest in the surrounding matter."

Painter Mikulas Medek (1926-1974) was undoubtedly one of the most influential Czech artists of the 1960's. Besides creating graphic art, he wrote poetry and diary-like texts. In 1963 wrote a remarkable experimental theoretical text for the catalogue of his exhibition in the North Bohemian town of Teplice - he held the exhibition together with Jan Koblasa and the event was extremely important for him, because it was the first officially approved public exhibition of his works after many years of bans by the totalitarian regime. A literary description of Medek's intricate creative process, the text has been quoted time and again ever since. The impersonal descriptive tone that Medek opted for suggests that the whole text might be an intentional mystification, a surrealist poem disguised as a tractate or Medek's personal answer to the cold scientific style of experimental poetry of that era.

Author and performer Jaromir Typlt (1973), born in Nova Paka, East Bohemia, studied at the Philosophical Faculty of Charles University in Prague. He prepares contemporary art and photography exhibitions at the Small Gallery in the town of Liberec. He has published poetry (Lost Hell, 1994) as well as prose (Mobile Thresholds of Temples, 1991, Helter-Skelter Opposites, 1996). In recent years, he has created book-objects together with other artists (e.g. Not that much, 2003, with Jan Mericka). In autumn 2007, his new book 'Grip' was published. Hi texts featured in short films (Viktor Kopasz: Shadow Play, 2002), radio compositions (Michal Rataj: Not that much, 2006) and several exhibitions. He is also active as a publisher of graphic and literary art brut (Zdenek Kosek, Hana Fouskova, Frantisek Novak). Many of his essays on Czech authors and graphic artists have been published in magazines. He has been a long-time contributor to literary magazines Souvislosti, Host, and Analogon. Since 1999, Typlt has developed an art form called "mutated public reading", in which he works with pre-recorded voices, language rhythm as well as found objects and spatial performance on stage. In 2006, he established his own website at www.typlt.cz. He received the Jiri Orten Award in 1994. Jaromir Typlt lives in Liberec and Nova Paka. Until now, Typlt has dealt with Medek's literary works only in several essays. Asked by Art's Birthday, he decided to analyse Medek's literary strategy by way of a radiophonic piece. He has interpreted his own texts this way before, most often as the so-called "mutaed public reading". One of his recordings, Strange Friends, featured in Czech Radio 3 - station Vltava's Radioacustica show in 2006. What shape Medek's more than 40 years old text is going to take in Typlt's mutation remains to be seen?

| Martin Ježek |

Improvised sound performance based on Milan Grygar's scores, around 1968.

"The quiet of the studio helped me overcome the silence of the drawing. Suddenly I perceived all sounds from outside, birds' song, children's cry. One day, when I was drawing, my attention was attracted to the rhythm of my wooden tool that disturbed the quiet of the studio, I could hear my own rhythm." (mg)

From the 1960's, the works of Milan Grygar, a leading Czech graphic artist and a representative of linear abstraction, tended to include acoustic phenomena in graphic art. Grygar thoroughly explored various possibilities for the relation between sound and image, which includes linear scores and drawings designed for musical rendition, drawings across the stave, conceptual scores, and sound table performances that record the sound of manipulation with objects on paper. In his new radiophonic composition, Martin Jezek rediscovers some composition principles used by Grygar as well as traditional themes from his works (use of toys, automotive objects, etc.). Jezek's improvised sound performance with exact determination gives performers precise and limiting instructions for rendition while providing leeway for improvised gestures.

Martin Jezek, born in 1976 in Prostejov, Martin Jezek is one of the most prominent Czech authors of formal and conceptual film. The vast majority of his works are based on extremely formal positions: scores and concepts that delimit the shape of a movie before it is produced. The movie takes shape uncontrollably within the set boundaries. Besides his own movies, he applied this concept to several remakes (Richard Weiner, Vera Linhartova). He has just recently finished a documentary film-brut called Second League. He works with the Birds Build Nests Underground group, helping them with the visual side of their performances.

| Uran Uran (sk) |

Experimental Dj set inspired by "Broken Music" by Milan Knizak, 1965.

Milan Knizak's Broken Music is a series of destroyed vinyl records, which create an acoustic as well as visual object. Punching, burning, cracking, gluing odd bits together results in an aggressive sound collage that attacks physical capabilities of the gramophone. Uran Uran transforms these methods - so popular in plunderphony and experimental DJ-ing (e.g. Otomo Yoshihide and Christian Marclay) - into digital destruction of recordings and samples across all genres. The aesthetics of random cuts, different kinds of distortion and chaotic manipulations present a perfect battlefield for Uran Uran, who fights with rock-and-roll vigour, armed with the latest technology.

Uran Uran (Slavo Krekovic and Oliver Rehak) is the first music planet discovered. Despite long-tem observations, it used to be wrongly considered as a star. Uran Uran connects the past and present of music. Its atmosphere is composed of 73 % live improvisation, 25 % sampling, and 2 % traces of traditional genres and rock'n'roll. It was described as "music that leads to the onset of new, extraordinary dance forms." The core of the planet consists of an intricate network of electronic sound elements, virtual electric guitars, and plunderhony technology.

| EBU reloaded |

An improvised remix of EBU satellite channels

An improvised remix of EBU satellite channels broadcast from other member countries in real time as well as compressed. Participants include e.g. radio Lemurie staff and others. Michal Cab - http://www.cabowitz.com, Stanislav Abrahám - http://www.myspace.com/lasonick.

| Lloyd Dunn (cz/usa) |

Micro sample re-interpretation of Jan Rychlík's "African Cycle", 1962

Lloyd Dunn's composition on the motifs of Rychlík's African Cycle examines the latent emotional content of the original sound via complex harmony shifts (sometimes discordant) of the manipulated fragments of the original composition. This is done by means of micro sampling and multiple layering over the original recording. The sound manipulation takes place on an elementary basis - on shifts of the frequency and tempo; very little in digital processing. This method of distillation results in a sound which has nothing to do with the original recording, but amplifies its emotional qualities.

Lloyd Dunn, born in Iowa in 1957, graduate in linguistics, photography and intermedia at the University of Iowa. He has taken part in the activities of the Public Works Production art group since 1987, including sound, image and performance activities with the exclusive use of found materials. Under The Tape-Beatles (with John Heck), he has done projection performances and multiple-screen shows with found 16mm films since 1991. Between 1983 and 1998, he was editor of the Photostatic magazine, focusing on sound and typographic poetry, xerographics, and texts on art in all its forms. In 2004-05, he was external lecturer on experimental radio production at the Bauhaus in Weimar. He lives and works in Prague.

| Michal Kindernay: trans*oph |

| music co-operation: Petr Vysohlíd |

| play video/350 kbps |

trans*oph is an audio-visual rescript of the work of Alois Piňos, a prominent musical composer and theoretician, a representative of New Music. The composition is an analogy on the original transference and transforming approaches applied in this case to connect image and sound. The score for Piňos' original composition was the starting point, serving as a manual and map from which to examine the relations between sound (music) and video image. By means of new technologies, the composition is transformed into imagery and enhanced with additional elements: temporal and spatial interplay, an interview between music and image, which are irreconcilable as media only seemingly. In the final video composition with a new sound, the processes culminate in a feedback. The process is reiterated and transforms Piňos' original sound composition as another of the input motifs used.

Michal Kindernay, born 1978, graduated from FAVU Brno, studio of academic painter Peter Rónai. His productions make use of interactive connections of sound, image, and other inputs. He works in an environment of interactive computer applications designed for work with sound and image, such as MAX and PureData. He uses them largely as open and interactive composition systems, helping him define the form of his work using an algorithm affecting various parameters of his audio-visual compositions in real time. His previous works include both video performances and installations, and interactive Internet-based projects (It's fun to be bohemian, 2007, with Lenka Dolanová); he frequently collaborates with the Belgian sound artist Guy Van Belle.

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