Radio Kinesonus on June 15, 2003
Today's program is a combination of our regular monthly program and a special program for Juniradio. Pit Schultz invited us to link our streaming to Juniradio that is the two week limited free radio from June 8 until June 29 2003, 24 hours per day, on 104.1 FM in Berlin and as a live stream on the internet. So our program is as follows:
01:00 - 01:15 Hiroyoshi Osanai's sound-scape 1
01:15 - 01:30 Interview with Pit Schultz
01:30 - 02:00 Kenji Maehara's ultra DJ mix 1
02:00 - 02:30 Hiroshi Hasegawa's sound performance 1
02:30 - 02:50 Tetsuo Kogawa's electromagnetic sound performance 1
02:50 - 02:59 Intermission
03:00 - 03:05 A short introduction by Tetsuo Kogawa (in English)
03:05 - 03:15 Hiroyoshi Osanai's sound-scape 2
03:15 - 03:35 Kenji Maehara's ultra DJ mix 2
03:35 - 03:50 Keith de Mendonca's telephone talk/sound-scape from Barcelona
03:50 - 03:10 Hiroshi Hasegawa's sound performance 2
04:10 - 04:25 Tetsuo Kogawa's electromagnetic sound performance 2
04:25 - 04:30 Say goodbye to Berlin from Tokyo (by voice and sound)
Artists' Comments and live pictures
Today's broadcast was made by mobile phone from the Sonar festival in Barcelona, Spain. Sonar is an annual 3 day festival of electronic music, discussions, cinema and electronic arts. You can listen to the concerts at the Sonar Gallery . Sonar is celebrating its 10th anniversary this year, and so it has curated a retrospective show of some of the best installations presented at the festival over the last decade. "Telematic Dreaming" (1996) by Paul Sermon, Soda's "Sodaplay" and Masaki Fujihata's "Beyond Pages" from 1997 all still retain a freshness about them, many year's after their first presentation.
This year's most interesting new presentations included a sound piece by Natascha Sadr Haghighian of an invisible bird fluttering through the gallery space and colliding with walls, and an impressive sound piece by Francisco Lopez called "Two Blank Spirits". Other sounds that caught my ear were "Eedl" from Barcelona, producing Autechre-like stuttering dance music, Paul Wirkus from Poland playing "Mik.Music", dreamy fragile pop music from Japan's "Sketch Show" and Tim Hecker twisting noise into beautiful loops.
- Keith de Mendonca
About 13 years have past since I've started noise. And the situation is getting better than those days. But sometimes I felt uncomfortable whenever the noise boom began more than once during the years. Because after the boom finished, there's always an atmosphere like saying "Are you still doing such kind of music?" Certainly, it's true that the penetration of noise, at least more or less , has been achieved thanks to such booms; noise can be no more po popular. But it survives as long as noise should be antisocial music because it derived from antisocial culture.
The concepts such as dialogue, editing, collage, sampling, mapping and etc. are still fascinating me. I am thinking by them in totally different ways from the original meanings of them. Deleuze and Guattari argued that "the concept is neither denotation of states of affairs nor signification of the lived; it is the event as pure sense that immediately runs through the components" (What is philosophy?) We re-create concept every time when we start with existent concepts. But it is impossible to start with nothing. So creating is a dialogue and a de-construction. My performance is to dialogue, collect, sample, map very week and trivial airwaves that are floating in the air by my own hands.
- Tetsuo Kogawa
- Kenji Maehara
- Hiroyoshi Osanai