Radioart – Sound composition in a radio
Sound composition that structurally and esthetically reflects the wide range of means of expression in the contemporary acoustic art scene, transgressing both genre borders and routine principles of traditional radio programming; special emphasis in creating the composition should be put on the radio as art medium. Maximum footage of a nominated composition that was broadcast in the time period from 1 January, 2008 to 31 May, 2010 is 60 minutes.
Ladislav Železný – Czech Republic
Before During After
Auditive form of memory. A string ready to sound, frozen in phase of its deflexion. A process of melting, slowly showing a colour and character of a sound. Cavity of empty jar.
Jiří Kadeřábek – Czech Republic
Both the soundtrack and a part of a classical singer represent stability and certainty of a niece as well as Mrs. Sappleton, two main characters of a Saki's story “Open Door“. Whereas a pop singer, who at first reads a review on the story and later sings a song, represents instability and uncertainty, a message of a main character of the story, Mr. Nuttel.
Tomáš Procházka – Czech Republic
Push the Button!
Edited audio material having been collected during recording CD of a group B4 creates along with music a sonde into unknown world of amateur groups experimenting in their studios separated from around the world. The radio art composition was presented in a section “Documents of New Generation”.
Stanislav Abrahám – Czech Republic
I´ll tell you what I can see
…places information into media reality which has no reason to be there. It is an act of selecting and classifying information according to its quality and placing it into the mass media. I´ll tell you what I can see is an attempt of applying one prominent feature of these social networks to a public radio.
Ludger Kisters – Czech Republic
Breath of Forest
The composition is based on sounds recorded during a two week expedition in the Amazon rainforest at Mamori Lake, Brazil. Sounds of dragon, insect, bats, Burda river, dolphins, fish, crabs and the howling monkey became background of the piece, representing the highest biodiversity on the Earth.
Four Dimensions – Czech Republic
Accusmatic composition inspired by painting of Jiří Peca, based on Venetian carnival “Masks”. Two faces of life. Joyful face (mask) expression is changing into demons allegory by turning the picture. The recoding uses wide range of musical and disturbing sounds and creates suggestive stereophonic picture in computer processing.
Eric Rosenzveig – Czech Republic
I Don’t Understand, Czech Politics
I would like to thank all 48 “political subjects“ who participated in creating this work during July and August of 2006 – friends, neighbours, family and acquaintances whose paths crossed mine that summer. Almost no strangers. They were aged 10 to 90 and live in various corners of the country. The only “audio material” is their voices.
Georgy Bagdasarov – Czech Republic
Ants in the Sky
It is an example of chaotic music which works with the chaos of human thought at the moment of interpretation. This chaos of thought is visible, it can be seen: When I look at the sky, I see the chaotic motion of thoughts because the Earth carries something within it. It is the same with improvisation – when a composition’s creation and interpretation occur at the same moment.
Pavel Novotný – Czech Republic
Universe was created solely by editing and layering the audio tracks, without use of any complicated audio chemistry. The sounds from Building S were taken apart, mixed with the voices, and put back together into an "illusion of Building S." For instance, Gregor Schröer and Günter Dischinger never urinated into the same urinal, and even if they did, they never did so while talking about the universe and Bavarian sausages; Maria Richter never banged against any bars and never shook out a rag - in fact, she never visited the building at all; Radek Vystrčil never disrupted the nurses' universe; the doorman never heard voices talking to him from his transistor radio (in fact, he doesn't even own one) - and he is absolutely right when he says that it's all one giant scam...
Alex Švamberk – Czech Republic
Broken key to destiny determination: Life and time epoch of Hildegard S.
Broken key represents an unusual combination of a document and melodrama. It combines recording of Hildegard’s memories with music of an international ensemble GAMe.
Alex Švabmerk – Czech Republic
Trainstory is a musical-text collage about escapes, hopes and failures, taking place in trains between Berlin and Prague. Three protagonists having similar relationship problems travel by those trains. A Czech man, a German one and a Slovak woman meet in order to miss each other and never speak to each other.
Tomáš Pálka – Czech Republic
Electro acoustic composition is a personal testimony of seeing and perceiving the world as well as of searching, fumbling, empathy and founding…
It is a musical-sound composition searching for combinations of acoustic elements and putting them together in one coherent complex.
Lukáš Jiřička – Czech Republic
From a diary of a ventriloquist II
This audio drama is based on fragments of a poetically-prosaic text called “Fence Game” written by a poet and „Magnesia litera“ award winner Stanislav Dvorský. The text oscillates between surrealism, existentialism, and an unusual form of literary art. Both the text and other parts of the piece expresses impossibility of giving order to the world, yearning to understand it and find a way of describing it. Labyrinthine fragments of maximally sarcastic text tell a story about searching for outer and inner space of a human being but also point out the impossibility of reducing the world into words.
Laco Kerata, Karol Horváth/Juraj Ďuriš/Viktor Lukáč – Slovakia
“Bonsai is unique form of acoustic art with unlimited span…“ BONSAI is not a dance – is not music – is resonance – is walk round the memory – is invisible sculpture – is unique form of abbreviation – is art of concentration if a story – is walk round the gardens of sonic images – is message – is a form of magic.
Bruno Pisek – Austria
To make listening possible seems to be as important as composing new pieces. Listening to and composing in sounds which decay into acoustic faint dust and which arise audible out of it again. With sufficient space for listening.
Daniel Lercher – Austria
Field recordings used for this soundscape-composition were made by Daniel Lercher and Peter Kutin during his one-month travelling through Iceland in summer 2008.
The recordings focus on bioacoustics sounds – distinguishing the unique natural acoustic environment if this island – as well as on traditional forms of music found in this region.
Florian Kment, Stefan Nemeth – Austria
Transition part 2 “Riding the turtle“
On December 1831, the HMS Bengle took the sea under the command of Captain FitzRoy. The goal of the expedition was to complete the surveying of Patagonia and Tierra del Fuego begun during its first voyage and to carry out a range of chronometric measurements in various places throughout of the world. Sound collage, which focuses on a process of change, transition between musical or geographical elements.
Chantal Dumas – Canada
Tiny Things. A mechanics of the day-to-day
Composed with sounds from everyday life, Tiny Things operates between the narrative and the musical. Tiny Things are those subtle sounds that are too quiet to attract any attention, or so unusual that we do not perceive them anymore. These can be parts of microcosms such as the insect world and computerized environments, or reminiscence, fragments of melodies, that play in loops in our brains, and of which we are the only listeners, or sounds from the past which resurface from time to time…
Debhasis Sinha – Canada
The Bodhi Tree
The Bodhi Tree is an audio work centred around an exploration of the Buddha’s struggle to attain enlightenment. It is an exploration of this imagined experience as he sat beneath the tree, from his re-imagined thoughts, to the natural world surrounding him as he sat in the forest, to the sight of his skin and the sound of his blood flowing…
Jason Bolte – USA
Noises Everywhere was inspired by a snippet of text from the classic children’s book „Goodnight Moon“ by Margaret Wise Brown, a book my daughter and I love to read at bedtime. The work uses sound material derived from my daughter’s toys.
Sol Rezza – USA
25 second live
It is a piece of radio art based on the extract poem “Esoantapájaros“ by Olivero Girondo. The all sounds this piece was created from vocal sounds, modified through computer.
Clemens von Reusner – Germany
The sonic landscape of the inland port „Beddingen“ (Lower Saxony – in the northern part of Germany) is characterised by large dynamic contrasts in the pension between lo-fi and hi-fi-soundscape. Amid the cranes, railway wagons, cargo ships, trucks, conveyors and storage tanks there is still sometimes and almost unreal silence in which time seems to stand still and even the slightest noise can be perceived.
Johan Andrén – Germany
Fisgarmonia is a part of the sound installation New Soundfeed at Scaniaparken in Malmö. Production consisting of three levels: The sound of crickets; a piece of time played on harmonium; signals from the Russian cosmonaut Komarov during his re-entry in the atmosphere with Sojuz I.
Mario Verandi – Germany
Street Markets Remixed
The barkers are yelling, purring and singing while ballyhooing their goods. At the same time cutlery and other instruments are buzzing and rattling incessantly and they all mix with a chaotic multitude of languages and sounds of the markets urban environment.
Christina Kubisch –Germany
Flying magnetic – An Aerial Radioscape
We are surrounded by sounds all the time and wherever we go. The atmosphere around us is bursting with sounds – some of them are audible, some of them we do not instantly perceive. Recording lightning system, transformers, electronic theft protection device, surveillance cameras, wireless internet accesses…
Marc Behrens – Germany
Bush Desert Rainforest
When different animal species are communicating in their natural environment they create an audible symphony of animal noises, but in fact they are mostly using different frequency bands. So to speak, they are placing their calls in separate acoustic territories. The intensive editing and rearranging of animal noises in the studio creates an unusual mix of natural improvisation and human intervention.
Asmus Tietchens – Germany
The Earth is shaking as a subway tunnel which is currently built in the emerging Port City in Hamburg and is mechanically pumped empty. This becomes the sound continuum Asmus Tietchens works with. Driving the tunnel onwards, excavation residues remains, a mixture of sand and rubble.
Antje Vowinckel – Germany
Speech habits in extreme situations – „rochenununterbrochen“ is based on twenty hours 'automatic' speech and singing: twenty people were recorded as they gave an incessant one hour monologue in a private environment. The participants had to find the strategies to avoid breaks and gaps, 'power outages' in their head so to speak.
Alvin Curran – Germany
Living Room Music
So all the sentiment, the loose laugher, the real powerful thunderstorm, friends, street musicians and the knife-sharpener and umbrella repairman (heard from a moving car) and other tender moments of simplistic folk instruments etc. are all what happened in the making of this piece.
Alessandro Bosetti – Germany
Imagine an America ruled by children. They staff the post office, run the schools, oversee the military, and decide on the form of government. What does the country look like under the rein of kids? And, more importantly, what does it sound like?
Bernhard Leitner – Germany
For almost 40 years, B. Leitner has focused his work on new spatial and rooms in sounds is not important and acoustic event, but rather the artistic material from which sculptural and architectural rooms are being designed and constructed. Radio space is his first radio phonic piece. In it, he sends unheard of acoustic-poetic room by means of sound and body onto the airwaves.
Anton Bruhin – Germany
Anton Bruhin´s composition “Reittier” (a mount) consist of jaw harp sounds and a series of recited palindromes. Its foundation is the perpetual bourdon of the electromagnetically stimulated jaw harp and the gradual change of the overtones. This sound web recalls an Indian Shruti box, only with expanded variability, when jaw harp alternate with sequences from the palindrome series.
Matthias Kaul – Germany
In „Audible Edibles“ Matthias Kaul explores the acoustic spectrum of food and it preparation. 'Brathröhre' – a German word for oven literally translated as 'frying pipe' – is attached new meaning as Kaul approaches the frying objects with actual pipes to capture their sounds, some of them as long as ten metres…
Claudia Wegener – Germany
With „Long Walks“ Claudia Wegener creates an audible image of South Africa by means of her collected “dramatic field recording“.
Jens Brand - Germany
The record player’s needle is the British gentleman and the disc is naturally the world itself. This is not a literature adoption as it has no words at all and there is nothing to understand in this strict scene. But with a RDS equipped radio there is a lot of readable information that comes with it.
Miki Yui - Germany
Ten years ago, Miki Yui started her collection of „small sounds“. It consists of subtle noises which are all part of our acoustic environment and everyday life, but often remain undiscovered. She made them audible, and thus alters our awareness are perception of how diverse and beautiful of our sonic surroundings are.
Francisco Lopez - Germany
Biologist F. Lopez has been collecting recordings of machines and automats for more than 20 years. He is equally interested in 18th century androids and modern data processing centres and set up his microphones in food processing plants, steel mills and high tech laboratories.
Valeri Scherstjanoi, Andrea Hagelüken – Germany
Dreadful Noises – a Rare Bird
The piece was commissioned by WDR-Studio of Acoustic Art on the occasion of the 1st anniversary of Henri Chopin’s death. Recorded on the grey, wet and cold fields in the north-east of Berlin.
Andreas Bick – Germany
A Pot Calling The Kettle Black
Is an old English phrase that can already be found in works by Cervantes and Shakespeare and is used today to accuse someone of being hypocritical…
The happening is transported from the middle age fireplace to a contemporary household and many sounds deal with daily routines in a kitchen: Frying eggs, drinking mineral water…
Johanes S. Sistermanns – Germany
At the Edge of Sound
At the Edge of sound, that is the piece with sound in fore – and background, at the auditory threshold, in transition right up to the peripheral location of its cosmic occurrence in the inverse. Edge is inner space periphery limit. Edge is horizon of audibility. Sound, creating new blends at its porous and ruptured transitions: a play of identity, self-assertion and constantly newly emerging sound passages.
Christian Schulz (pseudonym: C. Dimpker) – Germany
Construction I – Microphone and Synthesis
Further elements of the piece are other noises, usually described as annoying, such as feedback of traffic noise. They are combined with the midi-data of a string quartet, written in 2009. These two elements connect so strongly that at some points it is nearly impossible to determine whether one is listening to a synthetic or a recorded sound, respectively the listener even might confuse these elements.
Peter Pannke – Germany
Mali of my Dreams
The composition, multi-lingual collage, was triggered by a dream the author had when he visited Mali for the first time in 2003. After being initiated in the dream lore of West Africa, he returned to the country several times in order to ask the inhabitants about their dreams, and ends up in a program of Radio Crocodile where the listeners are phoning in to have their dreams interpreted by moderator Sy Souleimane Sy.
Johan Andrén – Germany
A place beyond time and space, where you easily forget who you are and why you came here in the first place. Johan Andrén’s Mogador is the last of seven documentary programmes in which he resurrect poignant documents from various places at the end of Cold War era.
Tanja Redujevic Susa – Serbia
Where the Danube Kisses the Sky
The project topic is BRANDING of the Danube delta in Serbia, for the needs of whole Europe, because only near Belgrade does the Danube, form a handrail of mainstreams, geysers, and wind roses, whirling the energy of unused sources of natural recourses and healthy food from the jungles on riverbanks and bays on islands and inland inlets.
Ivana Stefanovic – Serbia
The poet in a glass box
170 years ago, Danish, H. CH. Andersen, was travelling all over Europe. The traveller from the north set off toward the Black Sea, from Germany to Constantinople, across the Balkans…The poet wrote everything he could see and hear, describing that all in his travel-record “A bazaar of a poet“… At the same place today, what can be heard and seen nowadays?
Vladimír Jovanovic – Serbia
Pilgrimage into the gardens of emptiness
Project „Pilgrimage into the Gardens of Emptiness“ (electro acoustic metamorphoses) – triptych, created in 2008 is a result of reflection about dilemma on identity. At which levels, either personal or social, is identity expressed and recognized? What component of identity as a dynamic phenomenon is subject to changes, and what component has to remain unchangeable, permanently spreading through time and space with the inevitable interaction of cultures and civilizations?
Danny McCarthy – Ireland
Relocating the Soundscape
An inversion of so-called “special features” on an artist exploring radio and sound art and broadcast within Nova contemporary music programme.
Arsenije Jovanovic – Croatia
Liturgy for a Bird
In the time of recent Balkan wars a frightened little bird landed on the deck author’s boat while he was sailing from one to the other side of Adriatic fleeing from wars and insanity. The bird was doing the same avoiding explosions and shots from her once silent woods and quiet meadows…
André Castro – Portugal
It is a radio phonic installation/composition that aims to explore an auditory attention different from the one usually associated with the experience of listening to the radio, by making use of the spaces between words and songs that occur throughout the radio phonic discourse, as its compositional element.
Peter Wolfgang Menzel (Sweden), Ola Moen (Norway) – Sweden
My Fater – the Sea
The Composition lies in the boundary between sound art and chamber-musical closeness and density, alternating between harsh and soft, between aggressive and reserved. The composers hope that “My Fater – the Sea“ is able to evoke some part of our existential, human vulnerability – trapped in the vehicle of mortality – expressed through the submarine metaphor.
Colin Black – Australia
Longing, Love & Loss
It is a new major musical/sound art work that searches through classical text, historical Australian text and contemporary oral histories of love. It Wales together love stories in a sonance of text, musical composition, electro-acoustic composition and sound design to reflex our deepest human desire, our core emotional need…the constant inner cry to find, to hold and to keep love.