#297. Onafhankelijke geluidskunst, radiofonische projecten en andere audio-non-visuele misverstanden en vondsten. Twee radia.fm shows.
1. How can the cat be both dead and alive? by Magdalena Le Prévost for Radio Panik.
2. Ma‘am, there is no such thing in reality by Nina Dragičević for Radio Student.
How can the cat be both dead and alive? A sound test in noncompliance Just like in Schrödinger’s cat case, we’re here confronted to a situation of quantum entanglement, a “physical phenomenon whereby the quantum state of each pairs or groups of particles cannot be described independently from the state of the others”. To the colonizer, the colonized is noise, creating an interference against the legitimate signal. When a community radio choses to broadcast the voices of the colonized, we hear the noise entangled to them. It’s all about quantum superpositions of states and their decoherence. It’s all about the shown and the hidden, the audible and the noisy. Street backgrounds and side-effects become first and central. Dichotomies, dualities and their reflects in broken sonic mirors ripple in a droste effect of community radio recorded in its making. The radio in the radio. How can homeless people be both dead and alive? Here’s the impossible answer. With street-fed audio formulas, (no)home-made antipsychiatric remedies discovered through loud crash tests in counter-science in denial, invisibilisation and erasure of indigenous voices and bodies, as well as those of other landless and homeless people.
Magdalena is a volunteer at Radio Panik, Brussels, and whishes to explore all the obstacles, challenges, restrictions and impossibilities of a radiophonic Cinema Vérité for the ear.
Operetta for madams, violin and electronica by Nina Dragičević.
Nina Dragičević‘s composition “Ma‘am, there is no such thing in reality” opens up with a question. A question, or questioning, a doubt, this constitutive moment, this constitutive act of the enlightened subject, was in modern age marked with a genera-tion of new insights, with the search of new knowl-edge, with widening of intellectual cognition, with thinking. But the intonation of the introductory question – “No, I mean, do you understand me?” – uttered by one of the speakers from Nina‘s com-position, does not presuppose new knowledge, new cognition. Her question does not presuppose doubt; on the contrary, it presents the incantation of dogma, it presents non-thinking, it confirms the axiom, it strives to confirm the axiom, personal belief, in short, the ideologeme. The question does no longer express a questioning. It is no longer a search for new, but a persistent perpetuation and confirmation of stasis.
In this urban operetta, as Nina Dragičević marks her composition, many voices speak and “sing”. Here they are, here we are, contemporaries, sunk in mortgages, hungry, in constant deprivation, and here is theirs, ours, sonority.
That is how capitalism sounds like.
Extracts from the text accompanying the album written by Nataša Velikonja.