// [o_�]

Este volumen de las serie fue creado especialmente para el festival RadiaLx08, celebrado en Lisboa (PT) entre el 20-28 de Septiembre del 2008. Se trata de un collage de grabaciones de transmisiones de radio, obras de radio arte y emisiones comerciales e hist�ricas procedentes de distintos lugares del mundo, y que datan desde los inicios de este medio hasta nuestros dias. El set fue emitido v�a streaming en R�dio Zero dentro de una programaci�n especial de shows enviados al festival.

This is the volume number #026 of the mix series ‘From 20 to 20000 hz’. It was specially created for the festival RadiaLx08, celebrated in Lisbon (PT) between 20-28 Sep 2008. It features a mixture of radio transmissions, radiophonic soundworks and fragments of commercial, obscure and historical radio broadcasts from all over the world, spanning since the early days of this medium to nowadays. Broadcasted on R�dio Zero within a special program of shows submitted to the festival.

_sources )))

The Conet Project: Recordings of Shortwave Numbers Stations | Irdial Discs, 1997
Electric Enigma - The VLF Recordings of Stephen P. McGreevy | Irdial Discs, 1996
Stephen P. McGreevy - Space Weather Sounds
Scott Arford | Radio station | AntiFrost, 2005
Cavalleria Rusticana
John Cage - Radio Music (1956)
Ryoji Ikeda | ‘Radio Orange’ | 1000 fragments | cci recordings, 1995
Gintas K | ‘Tunning on’ | VA - Essays on Radio | Cr�nica Electr�nica, 2005
Random Industries | ‘Media Corrosion’ | VA - Essays on Radio | Cr�nica Electr�nica, 2005
Orson Welles | The War of the Worlds (radio broadcast 1938)
Rafael Alberti | ‘Radio Sevilla’ (1936) | Ruidos y susurros de las vanguardias : Reconstrucci�n de obras pioneras del Arte Sonoro (1909-1945) | LCI, 2004
Alexei Borisov + Anton Nikkila | �Radiotekhnika solovya (Transmission equipment of the Nightingale) | Typical human beings | N&B Research Digest, 2004
Old Time Radio Commercials Collection
Dimension X (american classic sci fi from the early 50’s)
The Haunting Hour : Original Old Time Radio Horror (January 1, 1944)
Adolf Hitler preparing the youth (speech)
Radio Prague - The Prague Uprising, May 1945
Quiz Kids radio series (1940s)
The Health and Hapiness Show (1949)
Unknown Artist | ‘Radio Bulgaria’ | VA - Touch Ringtones | Touch Records, 2001
William S. Burroughs | ‘Love Your Enemies’ | Dead City Radio | Island Records, 1990
Winston Churchill | ‘We shall fight on the beaches speech’ (1940)
‘American History Through the Eyes of Radio’ Collection
Martin Luther King Jr. | ‘I have a dream’ speech’ (1963)
Karl Schwedler AKA Charlie and his Orchestra (1940s) | ‘Makin Whoopee’
Yuri Gagarin | voice of the first human being in space (12 April 1961)
Neil Armstrong - first steps on the moon (July 20, 1969)
BBC Sound Effects No. 19 - Doctor Who Sound Effects (1978)
Alejo Duque - EMF at Alexanderplatz, Berlin (4th July 2008)
Reporters Without Borders - Beijing Olympics pirate radio broadcast (2008)
Mother Jones Radio Magazine
Radio New Internationalist - Bombs Away | archive.org/ourmedia
Sublime Frequencies 002 - Radio Java (2003)
Sublime Frequencies 007 - Radio Morocco (2003)
Sublime Frequencies 008 - Radio Palestine: Sounds Of The Eastern Mediterranean (2004)
Sublime Frequencies 014 - Radio India The Eternal Dream Of Sound (2004)
Sublime Frequencies 020 - Radio Phnom Penh (2005)
Sublime Frequencies 021 - Radio Sumatra - The Indonesian FM Experience (2005)
Sublime Frequencies 023 - Radio Pyongyang Commie Funk and Agit Pop from the Hermit Kingdom (2005)
Sublime Frequencies 028 - Radio Thailand (2006)
Sublime Frequencies 029 - Radio Algeria (2006)
+ other radio recordings made between 2005 and 2008.
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mixed and arranged in The Hague. September 2008

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[o_�]<<< — Sun, 21 Jan 2007 22:00:41 +0000

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tiempo lineal y culpa

[o_�]<<< — Thu, 06 Nov 2008 17:36:43 +0000

Tiempo lineal y culpa se apoyan mutuamente, aquél no existiría sin el origen, que es la caída: la culpa. Decia Lin Yutang que para hacer cristiano a un chino primero hay que convencerle de que es culpable. Éste es el método que aún se usa en las iglesias cristianas . Por supuesto que Occidente es más que el cristianismo, y que toda la filosofia postomista es un esfuerzo par sacudirse la teología escolástica, pero los moldes del pensamiento son muy antiguos y, para complicarlo más, subconscientes, de mode que la filosofía crítica racionalista no ha logrado tocar más que la superficie del Sinaí monolítico judeo-cristiano. E1 tiempo lineal sigue ahí como uno de los a prioris básicos de la esencia y de la filosofia preeinsteniana; la culpa tampoco ha desaparecido -por más que nos proclamemos agnósticos-, atrincherada en mecanismos reflejos infiernos que crean la clientela del psicoanálisis, plétora de pacientes que yacen en el diván postrados par un
sentimiento de culpa, si no hacia Dios, hacia la sociedad, la mujer, el deber, la carrera, la posición social e, incluso, el partido o la mismísima revolución.

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RACIONERO, LUIS. Oriente y Occidente. Filosofía oriental y dilemas occidentales. Barcelona, Editorial Anagrama, 1993
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correspondencias

[o_�]<<< — Wed, 29 Oct 2008 12:09:05 +0000

Correspondances

La Nature est un temple o� de vivants piliers
Laissent parfois sortir de confuses paroles;
L’homme y passe � travers des for�ts de symboles
Qui l’observent avec des regards familiers.

Comme de longs �chos qui de loin se confondent
Dans une t�n�breuse et profonde unit�,
Vaste comme la nuit et comme la clart�,
Les parfums, les couleurs et les sons se r�pondent.

II est des parfums frais comme des chairs d’enfants,
Doux comme les hautbois, verts comme les prairies,
� Et d’autres, corrompus, riches et triomphants,

Ayant l’expansion des choses infinies,
Comme l’ambre, le musc, le benjoin et l’encens,
Qui chantent les transports de l’esprit et des sens.

� Charles Baudelaire, Fleurs du Mal, 1867

Correspondences

Nature is a temple in which living pillars
Sometimes give voice to confused words;
Man passes there through forests of symbols
Which look at him with understanding eyes.

Like prolonged echoes mingling in the distance
In a deep and tenebrous unity,
Vast as the dark of night and as the light of day,
Perfumes, sounds, and colors correspond.

There are perfumes as cool as the flesh of children,
Sweet as oboes, green as meadows
� And others are corrupt, and rich, triumphant,

With power to expand into infinity,
Like amber and incense, musk, benzoin,
That sing the ecstasy of the soul and senses.

� William Aggeler, The Flowers of Evil (Fresno, CA: Academy Library Guild, 1954)

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[fleursdumal.org]
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sentirsi le sonno

[o_�]<<< — Sun, 26 Oct 2008 21:31:36 +0000

Hearing is basically a specialized form of touch. Sound is simply vibrating air which the ear picks up and converts to electrical signals, which are then interpreted by the brain. The sense of hearing is not the only sense that can do this, touch can do this too. If you are standing by the road and a large truck goes by, do you hear or feel the vibration? The answer is both. With very low frequency vibration the ear starts becoming inefficient and the rest of the body’s sense of touch starts to take over. For some reason we tend to make a distinction between hearing a sound and feeling a vibration, in reality they are the same thing. It is interesting to note that in the Italian language this distinction does not exist. The verb ’sentire’ means to hear and the same verb in the reflexive form ’sentirsi’ means to feel. Deafness does not mean that you can’t hear, only that there is something wrong with the ears. Even someone who is totally deaf can still hear/feel sounds.

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Evelyn Glennie - The Hearing Essay
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fluency, fluidity, flux… FLOW… and ECSTASY

[o_�]<<< — Sun, 26 Oct 2008 21:20:47 +0000

Flow is the mental state of operation in which the person is fully immersed in what he or she is doing by a feeling of energized focus, full involvement, and success in the process of the activity. Proposed by positive psychologist Mih�ly Cs�kszentmih�lyi, the concept has been widely referenced across a variety of fields.

Colloquial terms for this or similar mental states include: to be on the ball, in the zone, or in the groove.

[Wikipedia on Flow]

Ecstasy is subjective experience of total involvement of the subject with an object of his or her awareness. Because total involvement with an object of our interest is not our ordinary experience since we are ordinarily aware also of other objects, the ecstasy is an example of altered state of consciousness characterized by diminished awareness of other objects or total lack of the awareness of surroundings and everything around the object. For instance, if one is concentrating on a physical task, then one might cease to be aware of any intellectual thoughts. On the other hand, making a spirit journey in an ecstatic trance involves the cessation of voluntary bodily movement.

For the duration of the ecstasy the ecstatic is out of touch with ordinary life and is capable neither of communication with other people nor of undertaking normal actions. Although the experience is usually brief in physical time (from momentary to about half an hour), there are records of such experiences lasting several days or even more, and of recurring experiences of ecstasy during one’s lifetime. Subjective perception of time, space and/or self may strongly change or disappear during ecstasy.

[Wikipedia on Ecstasy]

Mihaly Csikszentmihalyi says creativity is a central source of meaning in our lives. A leading researcher in positive psychology, he has devoted his life to studying what makes people truly happy: “When we are involved in [creativity], we feel that we are living more fully than during the rest of life.” He is the architect of the notion of “flow” — the creative moment when a person is completely involved in an activity for its own sake.

Csikszentmihalyi teaches psychology and management at Claremont Graduate University, focusing on human strengths such as optimism, motivation and responsibility. He’s the director the the Quality of Life Research Center there. He has written numerous books and papers about the search for joy and fulfillment.

Social theorist Mihaly Csikszentmihalyi asks, “What makes a life worth living?” Noting that money cannot make us happy, he looks to those who find pleasure and lasting satisfaction in activities that bring about a state of “flow.” (Recorded February 2004 in Monterey, California. Duration: 18:55.)

What to augment and stimulate the mind toward various discoveries

[o_�]<<< — Fri, 24 Oct 2008 22:00:30 +0000

I shall not fail to include among these precepts a new discovery, an aid to reflection, which, although it seems a small thing and almost laughable, nevertheless is very useful in stimulating the mind to various discoveries. This is: look at walls splashed with a number of stains or stones of various mixed colors. If you have to invent some scene, you can see there resemblances to a number of landscapes, adorned in various ways with mountains, rivers, tocks, trees, great plains, valleys and hills. Moreover, you can see various battles, and rapid actions of figures, strange expressions on faces, costumes, and an infinite number of t hings, which you can reduce to good, integrated form. This happens thus on walls and varicolored stones, as in the sound of bells, in whose pealing you can find every name and word you can imagine.

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Leonardo da Vinci - Treatise on Painting (ca. 1651)

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unhappiness and memory

[o_�]<<< — Thu, 23 Oct 2008 21:35:08 +0000

[…] He said that in the 19th century mankind had come to terms with space, and that the great question of the 20th was the coexistence of different concepts of time. […]

four thousand and one: the time when the human brain has reached the era of full employment. Everything works to perfection, all that we allow to slumber, including memory. Logical consequence: total recall is memory anesthetized. After so many stories of men who had lost their memory, here is the story of one who has lost forgetting, and who�through some peculiarity of his nature�instead of drawing pride from the fact and scorning mankind of the past and its shadows, turned to it first with curiosity and then with compassion. In the world he comes from, to call forth a vision, to be moved by a portrait, to tremble at the sound of music, can only be signs of a long and painful pre-history. He wants to understand. He feels these infirmities of time like an injustice, and he reacts to that injustice like Ch� Guevara, like the youth of the sixties, with indignation. He is a Third Worlder of time. The idea that unhappiness had existed in his planet’s past is as unbearable to him as to them the existence of poverty in their present.

Naturally he’ll fail. The unhappiness he discovers is as inaccessible to him as the poverty of a poor country is unimaginable to the children of a rich one. He has chosen to give up his privileges, but he can do nothing about the privilege that has allowed him to choose. His only recourse is precisely that which threw him into this absurd quest: a song cycle by Mussorgsky. They are still sung in the fortieth century. Their meaning has been lost. But it was then that for the first time he perceived the presence of that thing he didn’t understand which had something to do with unhappiness and memory, and towards which slowly, heavily, he began to walk.

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-Narrator from Sans Soleil (1982) (by Chris Marker)
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shadows in between

[o_�]<<< — Wed, 22 Oct 2008 00:48:29 +0000

Between the idea
And the reality
Between the motion
And the act
Falls the Shadow

Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow

Between the desire
And the spasm
Between the potency
And the existence
Between the essence
And the descent
Falls the Shadow

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T. S. Eliot - The Hollow Men (1925)

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the birth of hearing

[o_�]<<< — Mon, 20 Oct 2008 20:57:17 +0000

[…] In his hand he held the decaying trunk of a man and he lifted it successively from his eyes to his nose and from his nose to his mouth, where one may guess what he did with it. His feet were bathed in a vast morass of boiling blood to the surface of which there suddendly arose like tape-worms in the contents of a chamber-pot, two or three cautious heads which disappeared instantly with the speed of arrows. . . . Like amphibians they swam between two waters in that unclean juice! And when the Creator had nothing left in his hands he would seize another swimmer by the neck with the two first claws of his foot as in a pincers and raise him up out of that ruddy slime (delicious sauce!). […]

At last, my heaving bosom being unable to expel the life-giving air speedily enough, my lips opened and I cried out… a cry so heart-rending that I myself heard it! The obstacle in my ears snapped abruptly, the eardrum cracked beneath the shock of that mass of noisy air expelled from within me so violently, and a new phenomenon took place within that organ condemned by nature. I had heard a sound! A fifth sense was born in me!

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Comte de Lautr�amont, Les Chants de Maldoror (1868)
eng trans by Guy Wernham (NYC: New Directions, 1965)

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vj quote

[o_�]<<< — Wed, 15 Oct 2008 20:55:45 +0000

‘Now I see what VJing’s all about - It’s like playing a video game that you always win!’

– posted by Stefan G. at eyecandy (Sept 2008): ‘At our last office party/open studios event at GO Visuals/Anon Gallery was firing on all cylinders, at about 3am while I was busy mixing my A/V set - someone popped their head round the door & said… ‘

The Augur

[o_�]<<< — Fri, 10 Oct 2008 21:14:59 +0000

The Augur was a priest and official in the classical world, especially ancient Rome and Etruria. His main role was to interpret the will of the gods by studying the flight of the birds (flying in groups/alone, what noises they make as they fly, direction of flight and what kind of birds they are), known as “taking the auspices.” The ceremony and function of the augur was central to any major undertaking in Roman society–public or private–including matters of war, commerce, and religion.

Consider the words of the Roman historian Livy, who writes (VI.41): auspiciis hanc urbem conditam esse, auspiciis bello ac pace domi militiaeque omnia geri, quis est qui ignoret? (”Who does not know that this city was founded only after taking the divinations, that everything in war and in peace, at home and abroad, was done only after taking the divinations?”)

[Wikipedia on Augur]
[Wikipedia on Ornithomancy]

the sound of hauntology

[o_�]<<< — Thu, 09 Oct 2008 22:31:22 +0000

Ian Penman: �Technology has made us all ghosts.�

1. The sound of hauntology

Conjecture: hauntology has an intrinsically sonic dimension.

The pun � hauntology, ontology - works in spoken French, after all. In terms of sound, hauntology is a question of hearing what is not here, the recorded voice, the voice no longer the guarantor of presence (Ian P: ‘Where does the Singer’s voice GO, when it is erased from the dub track?’) Not phonocentrism but phonography, sound coming to occupy the dis-place of writing.

Nothing here but us recordings…

2. Ghosts of the Real

Derrida’s neologism uncovers the space between Being and Nothingness.

The Shining - in both book and film versions, and here I suggest a side-stepping of the wearisome struggle between King fans and Kubrickians and propose treating the novel and the film as a labyrinth-rhizome, a set of interlocking correspondences and differences, a row of doors � is about what lurks, unquiet, in that space. Insofar as they continue to frighten us once we’ve left the cinema, the ghosts that dwell here are not supernatural. As with Vertigo, in The Shining it is only when the possibility of supernatural spooks has been laid to rest that we can confront the Real ghosts…. or the ghosts of the Real.

3. The haunted ballroom

Mark Sinker: ‘ALL [Kubrick’s] films are fantastically “listenable” (if you use this in sorta the same sense you use watchable)’

Where does

The conceit of The Caretaker’s Memories from the Haunted Ballroom has the simplicity of genius: a whole album’s worth of songs that you might have heard playing in the Gold Room in The Shining’s Overlook Hotel. Memories from the Haunted Ballroom is a series of soft-focus delirial-oneiric versions of Twenties and Thirties tearoom pop tunes, the original numbers drenched in so much reverb that they have dissolved into a suggestive audio-fog, the songs all the more evocative now that they have been reduced to hints of themselves. Thus Al Bowlly’s ‘It’s All Forgotten Now’, for instance, one of the tracks actually used by Kubrick on The Shining soundtrack, is slurred down, faded in and out, as if it is being heard in the ethereal wireless of the dreaming mind or played on the winding-down gramophone of memory. As I.P. wrote of dub: ‘It makes of the Voice not a self-possession but a dispossession - a “re” possession by the studio, detoured through the hidden circuits of the recording console.’

the singer’s voice

GO?

[…continue reading ‘The Shinning�s Hauntology’ at Mark ‘K-punk’ Fisher weblog]
[Black Secret Tricknology - by Ian Penmann - The Wire #133 (March 1995)]