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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.

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“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. 

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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).

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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).

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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.

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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.

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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.

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Someplaces: Radio Art, Transmission Ecology and Chicago’s Radius

Jeff Kolar with Radius' mobile transmitter, the Audio Relay Unit, on the shore of Lake Michigan.

Magnavox_AM2

This week Sounding Out! is proud to present the first post in Radio Art Reflections, a three part series curated by radio artist and senior radio lecturer at Canterbury Christ Church University Magz Hall. Focusing on innovative approaches to radio art, the series will bring together three leading practitioners who have been researching the field from Canada, Australia and the U.K.

We begin with a fascinating exploration of “transmission ecologies” in recent works in Chicago, Iceland and elsewhere, written by Canadian sound and radio artist Anna Friz — one of the most exciting radio artists working today — who discusses how transmission art has shaped her practice.

– Special Editor Neil Verma

From the early avant-garde Futurists to present-day, utopian dreams litter the history of art meeting technology. When it comes to radio and wireless, these often include the dreams that each new technology will conquer space and time; that the overcoming of distance will enable the symbiosis of human with machine and the union of self with other, while the overcoming of time will bring about a simultaneity of experience. For many radio and transmission artists (myself included), our work with so-called “trailing edge” media seeks to critically engage these myths, positing wireless transmissions instead as time-based, site-specific encounters between people and devices over distances small or large, where the materiality of the electro-magnetic spectrum is experienced within a constantly shifting transmission ecology in which we all, people and devices, function.

If one hallmark of radio art is the desire to appropriate broadcasting by rethinking and re-using technologies of transmission and reception in service of crafting new mythologies and futures for the medium. Artists have long questioned the policies and norms established by state and market around radio broadcasting which delimit experimentation and autonomous practices. Bertolt Brecht‘s call in 1932 for radio to exceed its one-to-many broadcast format in favor of a democratized, transceptive (or many-to-many) medium still resonates with contemporary artists and activists alike. What else could radio become, we ask, if not only a disseminator of information and entertainment, acoustic or digital? If radio so far has largely acted as an accomplice in the industrialization of communications, artistic appropriations of radio can destabilize this process with renewed explorations of radio and electromagnetic phenomena, constructions of temporary networks small or large, and radical explorations of broadcast beyond the confines of programming and format norms.

My first transmitter, built on the Tetsuo Kogawa model, as modified by Bobbi Kozinuk, 1998;

My first transmitter, built on the Tetsuo Kogawa model, as modified by Bobbi Kozinuk, 1998;

Curators, producers and art historians typically describe radio art as the use of radio as an artistic medium, which is to say, art created specifically for the technical and cultural circumstances of broadcast, and which considers these circumstances as artistic material. Today these circumstances have exceeded terrestrial broadcast to include satellite, online, and on-demand forms; similarly radio art has also expanded to include sprawling telematic art exchanges, online podcast series, and unlicensed temporary interventions into the radio dial. As a further reclamation of radio as a medium, many artists pull radio out of the studio to create installations, performance works and public actions which consider not just the act of transmission or the creation of artistic content, but also the material aspects of the electro-magnetic spectrum, and the circuits of people and devices which activate and reveal them.

Japanese media theorist and artist Tetsuo Kogawa describes broadcast radio art as art radio, where art is the content of a transmission. By contrast, radio art involves directly playing with electro-magnetic waves as the artistic medium. Galen Joseph-Hunter of Wave Farm further expands Kogawa’s formulation of radio art with the term transmission art, so as to include audio visual broadcast media and artistic activities across the entire electro-magnetic spectrum, such as work with Very Low Frequency (VLF) and Extremely Low Frequency (ELF) waves, or high frequency wireless networks. These definitions of radio and transmission art emphasize that radio is not a container for content, but is defined as relationships between people and things, occurring in the context of the electro-magnetic spectrum within a transmission ecology.

I apply the term transmission ecology in reference to both the symbolic spaces of cultural production such as a radio station, and to the invisible but very material space of dynamic electromagnetic interactions, both of which feature the collaboration between people and things. Transmission ecology asks more than “who owns the airwaves” by questioning the shifting relationships between all actors in the environment, from human to device to localized weather system to nearby star, and thus is not defined by homeostasis but by constant change. These relationships also support a theory of technology where people are not the absolute controllers of things, but where a push and pull of collaboration occurs within complex material and cultural environments.

Photo of Respire by Anna Friz, a large installation of radios from Nuit Blanche Toronto, 2009. 

Photo of Respire by Anna Friz, a large installation of radios from Nuit Blanche Toronto, 2009.

All activities in the electro-magnetic spectrum form ecologies in relation to one another conceptually, performatively, and materially. Consider the Radia network, an international alliance of independent radio stations who share radio art programming as an alternate transmission ecology within the broader culture of private broadcast radio stations. Another kind of ecology is formed by radio receivers all playing the same station diffused across countless cars and households, as they function in relation to other kinds of wireless devices and electronic systems nearby. Such a muster of receivers can be physically brought together, for instance, in a multi-channel radio installation, to reveal the complex relationships among devices, as each receiver also becomes a sender by electronically effecting its neighbor. A mobile phone receiving wireless internet likewise functions within the instability inherent in the surrounding transmission ecology shaped by all aspects of the built environment, such as the electrical grid and other urban infrastructure, as well as weather or time of day or solar flares. Human bodies and devices alike register the invisible electromagnetic activity that surrounds us as physical, measurable, and affective.

With this in mind consider radio art as occupying “radio space,” a continuous, available, fluctuating area described by the reach of signals within overlapping fields of influence and the space of imagination that invisible territory enables. The extrasensory nature of radio space allows for a productive slippage between real material signals and audible imaginary landscapes. Many radio art and transmission art works specifically draw attention to the transmission ecology in order to question the naturalization of mainstream communications systems, the normalization of practices within those systems, and the pervasiveness of electrical infrastructure, proposing alternate narratives and experiences.

So what is some of this work like? In the past year I have had the pleasure to work with Chicago-based Radius, an experimental radio-based platform which curates monthly episodes broadcast locally using the Audio Relay Unit, an unlicensed autonomous low-watt FM radio transmitter system developed in 2002 by Temporary Services and the Intermod Series. Radius neatly unites radio and transmission art by embracing the production of artistic content for broadcast, sampling existing content for artistic expression, and artistic use of the electro-magnetic spectrum generally. Radius functions as an intermittent exhibition space and as an intervention into the predictable daily grind of the FM dial. Artists compose their pieces specifically for the interference-prone radio space where their work may only be heard in fragments, as the instability and fluctuations of the relatively small Radius signal in relation to the big commercial stations broadcasting from downtown all form the context for experiencing the radio art works. Radius broadcasts one episode per month, on a schedule determined by the artist, with pieces varying in length and repetition, and some following a strict schedule related to cosmic or social timing.

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Photo of my private transmitter + antenna pointing out the window in Seydisfjördur, Iceland

Recently I crafted an episode for Radius while on an artist residency in Seydisfjördur, Iceland. The town was the site of the first trans-Atlantic telegraph link between Europe and Iceland in 1906, which was also the year that Reginald Fessenden first broadcast a human voice over radio from his workshop in Brant Rock, Massachusetts. Iceland is remote enough that the electro-magnetic ‘pollution’ from human signal activity is notably absent, and located far enough to the north that in October the light disappears rapidly, so that each day loses eight minutes of daylight. The piece was called Radiotelegraph, a beacon crafted from spoken morse code and sampled signals, then sent from north to south, simulcast on my own low-watt FM transmitter in Seydisfjördur at sundown each day as well as on Radius in Chicago. The transmission marked time passing, beginning earlier each day as it followed the path of the sun. My intention was not to overcome but to experience and recuperate distance through the relation of a remote radio outpost to another minor outpost further south within a metropolis; to hear distance and feel it; to understand that distance, however finite, is a necessary condition for communication and relationship, and that distance is the key ingredient of situated, time-based, spatialized sonic experiences.

Here is the Radius episode featuring Radiotelegraph:

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Power station across the parking lot from the Radius studio at MANA Contemporary, Chicago

Power station across the parking lot from the Radius studio at MANA Contemporary, Chicago

As part of a recent yearly theme on “Grids” Radius tackled the electro-magnetic field space of the city by inviting four artists to create new works to be performed near power stations. In his piece electrosmog, Canadian artist Kristen Roos utilized a high frequency receiver to sonify signal activity in the 800 MHz – 2.5 GHz range, which includes mobile phones, wireless phones, wifi, and microwaves. His site-specific performance took place overlooking the Fisk Generating Station in Chicago, and included microwave ovens and micro-watt transmission to a sound system made of radio receivers. Thus the work was site-specific to both the transmission ecology of urban Chicago and the field effects of the electrical grid, mixing material signals with a speculative approach as to what the cumulative effects of living in this built environment characterized by centralized power could be. In Roos’ work, radio space contextualized and revealed the real–though naturalized and often invisible–relationships between people, things, and systems, where a microwave oven gestured at both danger and musicality.

Listen to the Roos piece here:

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Kristen Roos' set up for his Grids performance

Kristen Roos’ set up for his Grids performance

These radio art works enact places in radiophonic space, and experiment with transmission to question the status quo of how the airwaves are controlled and used. As radio trickster Gregory Whitehead notes, it is position, not sound, that matters most with regard to radio. Artists remain committed to making radiophonic someplaces, however temporarily constructed, inhabited by interpenetrating and overlapping fields and bodies.

Featured Image: Jeff Kolar with Radius’ mobile transmitter, the Audio Relay Unit, on the shore of Lake Michigan. Used with permission.

Anna Friz is a Canadian sound and radio artist who specializes in multi-channel transmission systems for installation, performance, and broadcast. Anna holds a Ph.D. in Communication and Culture from York University, Toronto, and recently completed a post-doctoral fellowship in the Sound Department at the School of the Art Institute of Chicago. She has performed and exhibited widely across North America, South America, and Europe, and her radio art/works have been heard on the airwaves of more than 25 countries. She is a steering member of the artist collective Skálar |Sound Art | Experimental Music based in Iceland.

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