Music to Grieve and Music to Celebrate: A Dirge for Muñoz

"Early hours by Flickr user Rene Passet, CC BY-NC-ND 2.0

Round Circle of Resonance

Here is part four of the series “Round Circle of Resonance,“from the Berlin-based arts collective La Mission, who performs connections between the theory of José Esteban Muñoz and sound art/study/theory/performance. The opening salvo, written by La Mission’s resident essayist / deranged propagandist LMGM (Luis-Manuel Garcia) provides a brief introduction to our collective, some reflections on Muñoz’s relevance to our activities, and a frame for the next three missives from our fellow cultists. It is backed with a rousing sermon-cum-manifesto from our charismatic cult-leader/prophet, El Jefe (Pablo Roman-Alcalá). Last week we presented our Naked Mennonite/randy dramaturge (Mandie O’Connell)‘s urinary performance piece. Today, our saucy Choir Boy/Linguist (Johannes Brandis) shares his dirge to our dearly departed José (August 9, 1967- December, 4, 2013).

LMGM a.k.a. Luis-Manuel Garcia (curator)

Text and Music: Johannes Brandis

"Partytunnel" by Flickr user cosmonautirussi, CC-BY-2.0

“Partytunnel” by Flickr user cosmonautirussi, CC-BY-2.0

As someone who is involved in the underground dance music scene, I am aware of how much we are in debt to the underground scenes created by queers of colour, who collectively shaped their own utopias through their disidentification from cultures that rejected them on two fronts – sexuality and race. I believe that there is a great lesson to be learnt from this for all us. We – regardless of our sexuality or race – must also seek to incorporate these principles in current dance music scenes, which similarly afford those involved some relative freedom from the everyday oppressions of society. It is for this reason that I wrote this piece for Muñoz, someone who did a great deal to illuminate these utopian landscapes.

In this piece, I tried to incorporate the range of (often conflicting) emotions we feel when someone passes away. On the one hand we hear the bass drum setting the timbre of the song: a sombre dirge. This is further reinforced by the melancholy melody which slowly sweeps over the slow march of the drums, undefined and ethereal. On the other hand, however, I tried to imbue the piece with part of Muñoz’s high spirited and fiery character through the synchopated staccato percussion. Thus, we celebrate his life and personality while at the same time mourning his passing.

Featured Image: “Early hours” by Flickr user Rene Passet, CC BY-NC-ND 2.0

 Johannes Brandis is a dogboy.  He is a handsome young gent who excels at taking drugs, getting his fingers sucked, speaking ancient languages, and having a gay dad.


tape reelREWIND!…If you liked this post, check out:

“New Wave Saved My Life*”-Wanda Alarcón

“Music Meant to Make You Move: Considering the Aural Kinesthetic”-Imani Kai Johnson

“Hearing Queerly: NBC’s ‘The Voice'”-Karen Tongson

 

 

Sounding Out! Podcast #37: The Edison Soundwalk

IMG_0955

This slideshow requires JavaScript.

CLICK HERE TO DOWNLOAD: The Edison Soundwalk

SUBSCRIBE TO THE SERIES VIA ITUNES

ADD OUR PODCASTS TO YOUR STITCHER FAVORITES PLAYLIST

Join Media Frank Bridges as he takes a soundwalk around the premises of the Thomas Edison Center in Menlo Park New Jersey. Bridges touches upon how the space tells a story of the dense contradictions witihin Edison’s work. He considers how the sounds of construction, museum tours, gramophones, ghosts, and more collect and collide in the history of the Thomas Edison Center.

-

Frank Bridges is a Doctoral Candidate at The Rutgers University School of Communication and Information. He is also a part-time lecturer, musician, and graphic designer. His research interests are the DIY and Internet-based production and distribution of music, and visual communication with a focus on semiotic analysis and street art.

tape reelREWIND! . . .If you liked this post, you may also dig:

SO! Reads: Susan Schmidt Horning’s Chasing Sound: Technology, Culture, and the Art of Studio Recording From Edison to the LP – Enongo Lumumba-Kasongo

Sounding Out! Podcast #34: Sonia Li’s “Whale” - Sonia Li

Sounding Out! Podcast #10: Interview with Theremin Master Eric Ross – Aaron Trammell

Standing Up, For Jose

pee

Round Circle of ResonanceThe following video installation by Mandie O’Connell, is part three of a four part series, “Round Circle of Resonance” by the Berlin based arts collective La Mission that performs connections between the theory of José Esteban Muñoz and sound art/study/theory/performance.

The first installment and second installments ran last Monday.  The opening salvo, written by La Mission’s resident essayist / deranged propagandist LMGM (Luis-Manuel Garcia) provides a brief introduction to our collective, some reflections on Muñoz’s relevance to our activities, and a frame for the next three missives from our fellow cultists. It is backed with a rousing sermon-cum-manifesto from our charismatic cult-leader/prophet, El Jefe (Pablo Roman-Alcalá).  Next Monday, our saucy Choir Boy/Linguist (Johannes Brandis) will close the forum with a dirge to our dearly departed José (August 9, 1967- December, 4, 2013).

LMGM a.k.a. Luis-Manuel Garcia (curator)

“Standing Up”

Concept and Performance: Mandie O’Connell

Filming and Editing: Piss Nelke

Music: Khrom Ju (La Mission)

Artist’s Statement

Piss is Power.

Power exists in urination, in this basic and most crucial of bodily acts.  Problems with urination can result in embarrassment, infection, hospitalization.  And yet so many of us women encounter confining, unfair, cruel, and Puritan limitations to where, when, and how we can pee, while our male counterparts traipse around urinating wherever they please.  It is time, brothers and sisters, to re-politicize piss.

Brother Muñoz taught us that utopian projects require fellow participants, not audiences. We need a Urinary Utopia, a Piss Paradise that is open to men, women, trans and intersex people of all colors.  Let’s shower down a blissful piss, a rainbow-colored golden shower where we all can piss wherever the fuck we want to!

"Magical Pissing" by Flickr User Studio Grafico EPICS

“Magical Pissing” by Flickr User Studio Grafico EPICS

In my performance video, I attempt to create a Muñoz-inspired utopian sensibility through the enactment of a new modality of an everyday action.  I use a Female Urination Device—which enables me to stand up and urinate—to take a Yellow Adventure around my neighborhood.  I piss freely in places where my penis-having brethren piss.  I piss in a urinal next to which “Piss on me Bitch” is crudely scrawled. I piss into the river Spree, symbolically owning it with my liquid gold.  Finally, I write my name in piss, a macho action turned feminine, the power and privilege of said action redirected towards my vagina.

In “Standing Up,” three different sounds are mixed together to create the soundscape of the performance: ambient noise, music, and sound clips of urination.  The ambient noise serves to locate the scene in space/time.  The music by Khrom Ju was selected to give the performance an eerie, strange, and repetitive undertone.  The sound of urination was recorded live and is the sound of female urination.  We use this sound both as a cue and as comic relief.  Piss is funny, piss is strange, and piss happens all around us.

don't piss

“Hackney Rd E2 PISS” by flickr user Stupid Pony

Urination and the female struggle around it is a real struggle that really happens and really matters.  Exceptionally long lines for the ladies’ room, the inability to publically urinate at festivals due to feeling exposed and shamed, being charged money to use toilet facilities when males can piss outdoors for free, getting forced to use a ladies’ room when your sexuality sways towards using the men’s room, the list of complaints goes on and on.  So I say: pee where you want, not where others want you to.  Pee on administrators, police, politicians, and oppressors of all kinds while you’re at it!

I refuse to adhere to these rules anymore, and I beg you to follow my lead.

Piss is Power.

Featured Image adapted from  “Pee” by Flickr User Melissa Eleftherion Carr

Mandie O’Connell (yo) aka “Knuckle Cartel, is  a former big cheese and intellectual powerhouse behind the wildly successful Seattle-based experimental theater company Implied Violence. I, Mandie, have experienced the same “conservatism” and capitalistic partnership between Money and Art in the performance/theater scene. Witnessing firsthand the immense power that cash-wielding creeps hold over creatives is sickening, sad, and sordid. I’ve had enough, and so have you…right? Let’s fix a broken system. If we can’t fix it, let’s circumvent it. 

tape reelREWIND!…If you liked this post, check out:

Queer Timbres, Queered Elegy: Diamanda Galás’s The Plague Mass and the First Wave of the AIDS Crisis

-Airek Beauchamp

On Sound and Pleasure: Meditations on the Human Voice–Yvon Bonenfant

Sound Designing Motherhood: Irene Lusztig & Maile Colbert Open The Motherhood Archives– Maile Colbert

 

The New Wave: On Radio Arts in the UK

Pic 2 Magz Hall radiowaves action 2014 Folkestone Triennial

Magnavox_AM2In the UK there has never been much scope for radio art within the realm of public service broadcasting, leading artists to seek funding for their own independent projects, predominantly from the Arts Council of England (ACE) and other state funding bodies and charitable trusts. In this article, the final in Sounding Out!‘s series Radio Art Reflections, I will consider this recent avenue of practice, because its results – in terms of audience composition, artistic output and the wider cultural context of the form – shed light on both the particular context of radio art practice in the UK, and also have implications for the wider struggle for sustainable independent media networks against the diminished imaginative horizons of a public broadcast culture endlessly inured to ‘unavoidable’ cuts and the free market enclosure of the digital commons.

In the name of ‘austerity’ such cuts have been inflicted upon broadcasters worldwide. The loss of key radio arts programmes like Australia’s Listening Room, as discussed in the last post by Colin Black, is by no means the exception, even in an age of expansion in digital spaces. As De Lys stated way back in 2006 it may be considered “[i]ronic that the ‘rationalization’ of radio arts by public broadcasters occurs at the same time that audio arts activity and the creative use of sound are expanding exponentially in community spaces, in galleries, games, and online.” (De Lys, S and Foley, M; 2006, “The Exchange: A Radio-Web Project for Creative Practitioners and Researchers” Convergence; The International Journal of Research into New Media Technologies, 12; 129, Sage)

Elsewhere, institutional affirmation through public broadcasting connects local, national and international art radio broadcasters, as it also empowers two long running international radio art competitions that continue today: the Prix Italia set up by RAI, in 1948, to engage creatives to work with radio and create new works for the medium; and the The Karl Sczuka Prize for Radio Art, established by SWR in Germany in 1955, notable (sadly) for how so few women artists have ever won the awards. For Kersten Glandien, contributing to the Reinventing The Dial symposium back in 2009, the availability of public radio funding in the 80s and 90s enabled a heyday of commissions and festivals, events and prizes (Glandien, K; 2009. Keynote Paper given at Reinventing the Dial Symposium. Canterbury Christ Church University).

OLYMPUS DIGITAL CAMERA

No such radio art competition or open call for new radio art work has ever been run by the BBC, highlighting its resistance to the form. At present the BBC runs just one experimental programme that has been on air for 20 years: Between The Ears on BBC Radio 3, which leans towards more narrative-centered features reflecting Black’s issues with ABC’s Soundproof discussed in the last article.

ART STATIONS AND COMMUNITY RADIO IN THE UK

The first experimental art radio station in the UK went on air in Liverpool for a week in 1995, Hearing is Believing on 105.8FM. As Scanner wrote at the time it offered the chance for listeners to hear “sound works, performance and innovative documentaries that would never receive airplay on even the most ‘progressive’ FM bands. Remember, BBC Radio still has problems playing certain works of Stockhausen because they contain randomly-culled shortwave radio signals.”(The Wire, 1995). That inspired the London Musicians Collective to run its own month long arts station in Resonance 107.3FM in 1998. I was part of its action group and then its steering group as the station went full time in 2002.

Tight regulation across public and commercial radio in the UK also meant that artists were late to explore the medium. Trevor Wishart reminisced with me at Radio Without Boundaries about a radio piece he made with the BBC in mind that took over 28 years to be played on the radio in the UK, being not sufficiently ‘musical’ for a music station and not ‘dramatic’ enough to fulfill the conventions of drama.

In this context, community radio has been an important if limited platform and nurturing site for new radio art. There are now over 200 such stations in the U.K. but only two dedicated to the arts community: Resonance FM and Soundart Radio at 102.5 FM, the latter based in Devon since 2006. Soundart Radio exists on a hand-to-mouth basis via small grants to provide training for disadvantaged groups. Resonance FM, by contrast, has achieved regular funding by walking a line between its community status and its avant garde roots. Its success is due largely to its location and the exceptional work of volunteer artists and musicians who have developed innovative programming without budgets.

Arts Council England increased Resonance’s funding as it became a ‘national portfolio organisation’ in 2012. The station may tower over other most community stations, but its yearly funding is still only comparable with that of many regional arts festivals. Moreover, radio art is only a small part of what Resonance broadcasts, and is mostly scheduled as discrete programmes such as Radia, and as less frequent one-off programming such as Remote Performances a collaboration between London Fieldworks, the Live Art Development Agency and ACE, broadcasting 20 live mostly music based performances for a week from Glen Nevis, Lochaber, Scotland.

FUNDING RADIO ARTISTS

Open funding for artists directly from community radio stations is very limited and ad hoc. The Community Media Association was able to offer small commissions for Modulate, an open call to encourage artists to team up with community stations to encourage more arts diversity and address the fact that around “70 per cent of the community radio sector’s programming is music-based” (CapeUK, 2008, p.08). Meanwhile, Art Transmission was a welcome one-off project early this year run by Francis Knight who commissioned three sound artists including Jane Pitt and Xentos Jones to work with young boxers and steam railway enthusiasts to make radio works for the small community station BRFM on the Isle of Sheppey. A recent CapeUK report concluded that Community radio “offers creative and artistic freedom to their contributors unmediated by the editorial control exercised in commercial or public service broadcasting.” (CapeUK, 2008, p.20).

OLYMPUS DIGITAL CAMERA

It would be naive to imagine editorial constraints do not exist in the community radio sector. This is perhaps why several British artists have gone it alone to retain autonomy by running their own short durational arts stations as Restricted Service Licenses for projects which run for up to 28 days and can broadcast up to 25 watts, such as Kaffe Matthews Radio Cycle (2003) and Tom McCarthy and INS Calling All Agents (2004), Celestial Radio (2008), Boat Radio (2012), Writtle Calling (2012), Radio Boredcast (2012) and The Dark Outside (2012-14) all funded by The Arts Council. This marks an increasing trend in the UK of artists-curated FM stations.

Grants for the Arts from ACE offers a way for artists to receive funding to make new work. My own group Radio Arts has, through funding from ACE and Kent County Council, been able to recently commission new radio art works for broadcast from Colin Black (AU), Arturas Bumsteinas (LITH), Iris Garelfs (GER), Anna Friz (CAN), Louise Harris (UK),Olivia Humphreys (UK),Langham Research Centre (UK), GX Jupitter- Larsen (US), Carlo Patrao (PORT), Mikey Weinkove (UK),Joaquim Cofreces (Argentina), Esther Johnson (UK), Michael McHugh (UK), Gregory Whitehead (USA), as well as Radio Arts members Genetic Moo, myself and James Backhouse (UK). Radio Arts ran a series of workshops, a radio art showcase exhibition and will be running a forthcoming live event and online gallery and further workshops next year alongside broadcasts of the new works to be heard on eight partner stations in four countries.

However, such work can only continue with further funding. For me it is important to move away from the current creative commons ethos, where no one is ever paid to participate. We should allow sound and radio artists to gain a fee to produce new radio work, particularly as the Artist Network in the UK is campaigning for artists to be paid in galleries.

MICROBROADCSTING AND ARTS SPACES

Another interesting area which has taken off from Japanese radio artist Tetsuo Kogowa is micro broadcasting, the use of small range transmitters allowing artists to broadcast in a localized space of up to one watt, without the need for a license, either by building the transmitters or buying them readymade. These work well for radio installation and have allowed me to continuously play works as discrete stations and produce surround works allowing a different voice or sound to emanate from each radio in the installation. For eight years, mostly unfunded, I worked on Switch Off a PhD radio art project documented on my blog creating eight different fictional stations as micro broadcast installations each imaging a future use for FM when it has been abandoned in the UK these works explored radio art practice from a post digital perspective.

.

Micro broadcasting these works proved to be a very liberating way of sharing radio art work in galleries and outside of conventional radio broadcasts and allowed me to really experiment without constraint, whilst the web has brought me closer with other international artists and communities to share practice and projects. Having used radios as a readymades for multiple and surround installations my experience has led me to new ways of thinking about installation work such as a bespoke transmitting book Spiritual Radio 2014, which broadcasts itself and awaits the listener to find its frequency.

Magz Hall Spiritual Radio (2014) Whitechapel Gallery London

Magz Hall Spiritual Radio (2014) Whitechapel Gallery London

Following this line, many online arts stations have been set up by galleries and arts spaces, often as temporary projects. Online arts station Basic FM started in 2011, and was a project of Newcastle independent cinema Pixel Palace having hosted Vicki Bennett’s Radio Boredcast at the AV Festival (2012). It “presented an audio gallery that exhibited the work of those making interesting noise: sound collage, found sound, spoken word, discourse, dialogue and discussion, musique concrète or original, remixed and detourned musics” (Basic FM, 2014, website). Run by one part-time member of staff and funded by the Arts Council to run for thirty months until 30th Sept 2014 Basic FM did not carry on due to lack of further funding, a real loss after it steadily building up its reputation as the third full time arts station in the UK.

It seems that in the UK the lack of artistic airspace on public and community radio has been sidestepped by radio artists who have forged their own stations to redefine public space in myriad forms. And there are possibilities in the future. The latest temporary UK arts station call comes from the well regarded CCA Gallery Glasgow Radiophrenia next year, while London’s Tate Britain is currently running a family programme Radiocity and its community programmes have commissioned myself and Jim Backhouse from Radio Arts to run a series of workshops called Reclaim the Waves from the end of February, working with the local Westminster community to document the changing city and produce a participatory radio installation for exhibition.

OLYMPUS DIGITAL CAMERA

Magz Hall is a sound, radio artist and founder of Radio Arts an artist led group who promote radio art. Her work has been exhibited in the British Museum, the Sainsbury Centre, MACBA Barcelona, Denmark, Italy, Germany, Norway, Morocco, Canada and the USA and broadcast internationally. Her ambisonic soundtrack of Hong Kong Airport at the British Museum was described as “extraordinary and rich.” Radio Mind (2012) an “intriguing and beautiful work”  was commissioned by the Lightworks Festival. Her most recent work Spiritual Radio (2014) “looks like a hardback on life support” (TLS) was commissioned for ‘Unbinding the Book’a touring exhibition. A senior lecturer at Canterbury Christ Church University and a founder of London’s arts station Resonance FM, she has just completed a practice based PhD on radio art at CRISAP, LCC, University of the Arts London entitled Radio After Radio: Redefiningradioart in the light of new media technology through expanded practice.

Images courtesy of the artist.

tape reel

REWIND! . . .If you liked this post, you may also dig:

Sound and Curation — Santaperversa

From Kitschy to Classy: Reviving the TR-808 — Ian Dunham

Revising the Future of Music Technology — Aaron Trammell

%d bloggers like this: