#353. Independent sound art, radiophonic projects and other audio non-visual misunderstandings and findings. Two shows from the radia network.
1. Waiting for PPE. (guest slot)
A Grandmother marvels despite the virus she is able to continue gardening
as she has always done and the birds will always keep singing.
She listens to the distance sounds now.
Isolated voices of people, a child next door.
A fly.
The garden is a sanctuary, vibrant of living and growing, death is not
present.
Occasionally she hears planes overhead, she wonders if they bring PPE.
A long away siren.
A conversation with a passing man, who tells her a women with the same name
as her own was buried this week.
Purerehua the roaring hovering stirs the final lament and farewell.
2. Sounds of Silence. (Radio Grenouille / Studio Euphonia).
Radio adaptation of the vinyl record « Sounds of silence » by Matthieu Saladin, Patrice Caillet et Adam David.
(Frac Franche-Comté / Alga Marghen, avec le soutien des éditions Incertain Sens, 2013)
Radio Grenouille-Euphonia production team :
Jean-Baptiste Imbert, Chloé Despax, Margaux Wartelle, Alex-papi Simonini, Marine-Roya Sahabi Ghomi.
An anthology of silence pieces from the records history.
Sounds of Silence is an anthology of some of the most intriguing silent tracks in recording history and includes rare works, among others, by Andy Warhol, John Lennon, Maurice Lemaître, Sly & the Family Stone, Robert Wyatt, John Denver, Whitehouse, Orbital, Crass, Ciccone Youth, Afrika Bambaataa, Yves Klein, etc. In their own quiet way, these silences speak volumes: they are performative, political, critical, abstract, poetic, cynical, technical, absurd They can be intended as a memorial or a joke, a special offer, or something entirely undefined.
The carefully chosen silences of this anthology are intrinsically linked to the medium of reproduction itself and reveal it¹s nude materiality. They expose their medium in all its facets and imperfections, including the effect of time and wear. At the most basic level, these silences are surfaces. And it is in their materiality that they distinguish themselves from the conceptual experiments of John Cage with 4¹33². From the 1950s silence has found a place in the economic structure of the record industry and since then it would increasingly be appropriated by a vast array of artists in a vast array of contexts. Indeed, the silent tracks seem to know no boundaries.
The LP presents the silences as they were originally recorded, preserving any imperfection that the hardware conferred upon the enterprise, without banning the possibility to satisfying the ear. The liner notes provide historical background for each track, revealing the stated (or presumed) motivations for these silences, while providing novel sound correspondences or interferences.
This album is meant to be played loud (or not), at any time, in any place: a true aural experience.
