RADIOMAN

RADIOMAN

the electric man no longer listens to the radio - he himself is radio: set at the same time on reception and transmission. as a sign of his existence he thus leaves his marks on the data background. the drawing of marks is the basis of his existence (on video, banking card, telephone, fax, personal computer and so on). as if in recognition of the electric circuits in his own body, the "radioman" charges himself up with mobile electronic calculators, watches, data and dictating machines, Walkmans, cellular telephones, electronic locators, laptops, notebooks. supported by batteries, he creates around himself the postmodern aura of an omnipresence.

From: In the Noise of the Signals by Richard Kriesche, 1989.

TOWARD A DEFINITION OF RADIO ART

1. Radio art is the use of radio as a medium for art

2. Radio happens in the place it is heard and not in the production studio.

3. Sound quality is secondary to conceptual originality.

4. Radio is almost always heard combined with other sounds - domestic, traffic, tv, phone calls, playing children etc.

5. Radio art is not sound art - nor is it music. Radio art is radio.

6. Sound art and music are not radio art just because they are broadcast on the radio.

7. Radio space is all the places where radio is heard.

8. Radio art is composed of sound objects experienced in radio space.

9. The radio of every listener determines the sound quality of a radio work.

10. Each listener hears their own final version of a work for radio combined with the ambient sound of their own space.

11. The radio artist knows that there is no way to control the experience of a radio work.

12. Radio art is not a combination of radio and art. Radio art is radio by artists.

from: Kunstradio: TOWARD A DEFINITION OF RADIO ART

NICAI Communique Podcasts

Will hopefully start podcasting the Communiqué Autumn Lecture Series this coming Tuesday. Thinking how podcasts could be used as input into an networked-electro-acoustical performance and composition with jon panther, a post-graduate student in the School of Music. This requires licensing to be sorted / cleared for reuse remix rebroadcast at the point of creation. Things happen fast.

jon panther 10032010

met with jon panther for a bit today in NICAI courtyard to dissect possible collaboration / performance / action around internet as input into sound composition. harvesting urls containing sound extensions as input into live manipulations; audience control over input variants, tagging, nexts, similar artists. Last.fm radio playlists. audiences controlling networked clients creating on-the-fly station for input. even with global corporate media's licensing restrictions the 30 second song burst is a perfect metaphor for networked limitations of the antipodes. latency of cultural and economic dependencies.

http://ws.audioscrobbler.com/2.0/user/pumicehead/topartists.xml