martiensgohome – I really should have seen through the airwaves
The inspiration for this piece came from the idea of treating the radiowaves as a living environment, a complex landscape just waiting to be explored. Applying field-recording methods to the shortwave signals of the radio highlights its various sceneries, and its diverse inhabitants. From radio amateurs to state propaganda, and from entertainers to religious freaks, all types of discourses can be found here competing for attention. Surrounding these voices is an equally fascinating ocean of electronic sounds : magnetic storms, carrier waves, interferences, radio-jamming, hum and buzz. The aether is an infinite synthesizer. The natural tones and human-made noises of the airwaves represent an inexhaustible source of sound material and inspiration.
This piece has been composed with the help of the scordinator, a computer program devised by martiensgohome during a residency in the Q-O2 workspace in 2023. The program generates a graphic score for multiple musicians to follow, suggesting dynamics, entry points and pauses for each performer. Designed for live performance as well as for decision making in the studio, it is both a game and a tool. It reconciles conducting and improvisation insofar as it doesn’t tell the musician what to play, or how, but lets him make creative choices within a timeframe.
martiensgohome is a radio-art collective based in Brussels and has been active on the air since 1996. They operate every week on Radio Campus 92.1 FM where they produce a one hour-long improvised show, using field-recordings, electronics, objects and guitar. They also perform live whenever possible, preferably in special settings, composing site-specific interventions or playing unconventional venues.
Hypercabane is a collective project airing monthly on Radio Campus Bruxelles. Our research explores the plastic forms of sound and radio, the potential of the voice and the distortion of reality. Each month, we collaborate with guest artists on live experiments guided by creative protocols, challenging notions of the linearity of time and space, while travelling through a sound-designed universe with a dreamlike, retro-fantasy aesthetic.
In the manner of a cut-up, the recordings of these live broadcasts become the raw material for the editing and pasting process that we carry out alongside our work on the broadcasts themselves. As we celebrate the third anniversary of the project, we’ve delved deep into our archives to blend our earliest and most recent shows into a brand new journey.
With the voices of : Flavia, Maxime, Djeline, Paolo, Valentin, Jules, Eugène, Maria, Carla, Marie, Zélie, Mia, Eline, Elisa, Inès, Lilith, Ian, Orlane, Mathilde
With samples from : Allergène – FunkyPastaBox Irreversible Entanglements – Our Land Back Mark Seibert – Conquests Of Camelot OST
In this audio-essay, Katharina Smets illustrates her journey from an autobiographical narrator to an invisible director and back again. She is looking for an open and transformative dialogue between the ‘I’ of the maker and the ‘You’ of the interviewee, between the final work and the listener.
The essay is based on Katharina’s PhD research to the attitude of the audio documentary maker.
A piece by Dr. Katharina Smets Music: Inne Eysermans Voices: Writer, John Biewen, Jonathan Goldstein, Kaitlin Prest, Rikke Houd, Barbara Wazgird, Jerome Lemenu. Illustration: Randall Casaer
Curation: Carine Demange for Radio Campus Bruxelles
Le podcast sera disponible la semaine prochaine sur Radia.fm
Everything has changed already A radio piece by Isa Stragliati
A close friend sent me a voicemail from afar during a difficult time. Improvised vinyl mix with music and sounds by Fripp & Eno, Multer, Reznicek, Pierre Henry, C-Schultz & Hajsch, Bergen, Institut Für Feinmotorik, Reuber, Eliane Radigue & more
Artistic support and curation for Radio Campus Bruxelles : Carine Demange
All my love and gratitude to Paulo Dantas
Isa Stragliati is sound artist, radio producer, composer and dj. Coming from the visual arts, she turned to the sound medium in 2002 through DJing, as an extension of her approach of the film editing (under the moniker Rescue). She then practiced numerous aspects of radio production before reconciling it with her creative work. Her productions and live performances, involving field recording as much as documentary, concrete music or techno, are broadcasted on international networks and national radios, during international festivals and events and in contemporary art centres. Her radio piece “Le feu qui ne s’arrête jamais” (The fire that never stops) won first prize in the international competition 60 Seconds Radio in 2019. http://noearnosound.net/
L’émission Radia de cette semaine a été commissionnée par Radio Campus Bruxelles (Carine Demange) et confiée à l’artiste bruxelloise Mathilde Lacroix. « Are you up for it ? »
*** Stop/Play. Change de fréquences… !
Pile ou face ? Et si on jouait à ça pour changer nos perceptions du monde ? Et si on capturait l’extérieur, on le transformait et on le réécoutait un peu plus à notre oreille, depuis l’intérieur ? Je suis sûre que mon bébé serait tout heureux…
C’est ça le secret de la « Fermentation authentique », garantie « depuis des générations » !
On a un autre secret : « On a du pain sur la planche ! »
Encore une dernière chose et après Stop/Play : ………« Ecoute……. »
Mathilde Lacroix est basée à Bruxelles. Après des études de traduction et de documentaire sonore, elle étudie la musique électroacoustique. Elle explore les paysages mentaux et physiques, vivants et abandonnés, qui ouvrent à d’autres manières de percevoir et ressentir le monde. Elle s’intéresse à la transformation, aux matières à pétrir, organiques, à la (dé)composition des sons, des mots, des hasards. Concrètes ou abstraites, avec des instruments acoustiques ou virtuelles, dans l’air ou ailleurs, ces matières cherchent à s’émanciper d’une forme définie et à trouver une poésie entre les formes. Elle collabore régulièrement avec la photographe belge Nathalie Hannecart et l’artiste Aurélie Bay pour explorer trois regards, trois formes, trois joyeuses combinaisons (Les terribles ténébres). Elles ont également exploré la thématique des traces et de l’érosion à travers l’industrie minière et sidérurgique, aux côtés de la graveuse Weronika Siupka (Kierunek Gruba). Elle a accompagné musicalement le film de Miléna Trivier« Le Murmure des lieux qui nous habitent », et a collaboré à plusieurs reprises avec Maxime Coton, en questionnant la place de la poésie dans la mixité des formes. A travers le projet Living Pages, elle a fait la rencontre du peintre Jamil Mehdaoui.
CREDITS Création sonore : Mathilde Lacroix Compositions sacrées : Camille Lacroix Avec la voix de Franck Seng, comme Youtubeur pétrisseur.
Avec la complicité et le jeu de Shakira & Beyoncé, les chat.x, et le soutien de Xiri Tara Noir dans cette lente fermentation.
Merci à Carine Demange pour son invitation, son écoute et ses bons échanges.
In the spring of 2018, the temporary lesbian barMothers & Daughters opened in Brussels. This opening brought together a community in deficit. In deficit of place, of celebration and of collective rituals. In the wake of this event whose near disappearance made its presence all more precious, Severine Irène V. Janssen X BNA-BBOT recorded testimonies, conversations and sounds. These recordings took place in the bar and outside the bar and resulted in this radiophonic piece.
BNA-BBOTisa Brussels-based organisation dedicated to the past, present and future sound memory of Brussels. Since 2000, BNA-BBOT generates a history and memory of the city through the stories and memories of its inhabitants. We’ve compiled closed to 20.000 items of sound data – witness accounts, snippets of conversations, monologues, songs, soundscapes and raw sounds – that form the history of the city. A kind of documentative experience over a very long course, which is not only intended to capture the voices and sounds that pass, but to also create multiple forms that can be heard and returned to the city. All this, in order to have the city actively rework its living memory, and the memory – both present and future – constantly reworked by the city.
Séverine Irène V. Janssen lives and works in Brussels. She studied philosophy but her passion for the way in which history is conceived, written, commented and transmitted, as well as her interest in memory as a political and aesthetic subject led her to take on coordination for BNA-BBOT in 2009.
A portrait made with the memory of Aless, Caroline, Vera, Christophe, Victor, Ychaï, Eleonora, Pauline, Franco, Vincent, Jole, Paul, Izabella, Héloïse, Arthur, Electra, Susie, Aline.
