|View Jim the Poet's profile
Classic overnight radio with that feel of an unanticipated fill-in! Hour-long installation pieces, murmurs in the dark, endless hurtling to the bottomless abyss! Hi Mom!
August 20, 2023: "Jim the Poet fills in for Jonathan Herweg"
Listen to this show: Pop-up player!
|Approx. start time
|The Howlin' Wolf Album
|Howlin' Wolf stated that the album was "dog shit". https://en.wikipedia.org/wiki/The_Howlin%27_Wolf_Album
|Laura Cannell & Various Cats
|Amplify the Purrrsitive
|AMPLIFY THE PURRRSITIVE by Laura Cannell
|Part of a Sound and Ceramic Sculpture created for the Raveningham Sculpture Trail 2023 where over 60 artists install work into over 3 acres of wild and mature gardens. Amplify the Purrrsitive is all about the Healing Power of Cats. The frequency of cat purrs help them to generate self-healing mechanisms in their bones and muscles. And this can be passed on to their human friends. The installation of 100 ceramic cats with sound is set in a 15 feet wide willow bower/chapel which visitors can enter and stay a while. Ceramics by André Bosman Sound recorded and edited by Laura Cannell
|Christof Migone & Alexandre St-Onge
|My Body Doing Its Best Without Me, And Then You See The Mouth Open As If It Wanted To Say Something
|Strangling the love out of each other while guest André-Éric Létourneau checks his pulse and tracks his blood flow using a medical device. We placed contact mics on each other’s throats. The throats swallowed, the strangling arms shook and sweated.
|Australian sound artist JASMINE GUFFOND presents “Degradation Loops”, initially a sixteen day process of sonic destruction created for an art exhibition. Australian sound artist JASMINE GUFFOND’s “Degradation Loops” started out as a sixteen day long composition for an exhibition at Sydney gallery 55 in December 2016. Literally using the ‘degrade’ object from the MaxMSP programming software, “Degradation Loops” gradually and completely bit crushed her 2015 album ‘Yellow Bell’. A process of sonic destruction unfolded in response to a group show where visual artists destroyed and reassembled their work, to create new work, and to question the dominance of commercial imperatives within art. Here GUFFOND has especially created a thirty minute variation for the vinyl medium. Engaging the process of bit crushing, in “Degradation Loops” the sampling rate and bit depth of the audio signal is step by step, gradually, and completely reduced. The algorithmic unraveling of these tracks renders them increasingly discordant and unpredictable as time passes. Using intricate and highly articulate audio loops from an existing authored work, sound gradually becomes noise. Beauty is broken down allowing another type of beauty to emerge. By deliberately deconstructing the audio signal of otherwise highly deliberative compositions, “Degradation Loops” speaks to a contemporary audio realm where principles of High Definition dominate, in an overall musicscape preconceived as uniform. An industry standard sampling rate of 44.1kHz, and a bit rate of 16 was established by Philips and Sony with the Compact Disc format in 1982. At the time this became an encoding standard by which to communicate, listen, and make music. JASMINE GUFFOND is a composer and sound artist from Sydney, Australia, who lives and works in Berlin, Germany. Focused on electronic composition across music and sound art contexts, her practice spans live performance, recording and the capacity of sound installation to interrogate site. Through the sonification of data she addresses the potential of sound to engage with contemporary political questions. Her music draws upon influences from experimental electronic, drone, techno and avant-garde. Working with abstract sound as much as traditional musical forms to create a concordant relationship between a sound that holds emotive power and musicality, and a sensitive microscopic study of electro acoustic phenomena. Jasmine has exhibited internationally including Akademie der Künste (DE), Deutsche Oper (DE) and the Museum of Contemporary Art (AU), performed live internationally at music and electronic art festivals, and recorded music for CD and 12inch vinyl releases with the Staubgold, Monika Enterprise and Sonic Pieces labels. She completed the Sound Studies, master in arts program at the Universität der Künste, Berlin Germany, 2015 and received the ‘Working Grant for New Music und Sound Art’ from the Berlin Senate in 2016.
|Subduction Zone, just ambient
|An eight-channel sound piece is installed behind the curtain of the space. I experiment with different ways of distorting field recordings that I made during my quarantine in China. I recorded verbal vocals of myself as recurrent samples in the work, featuring the most often used english words in news industry. The samples are played by machine-determined speakers to cover the room with voices that are constantly changing its direction of source. It creates a fiction where the voices were communicating with each other in an uncanny situation. It creates disorientation, and a situation of lost in the intangible discourse of social and historical contemplations. ‘The lights and the atmosphere are focusing and calming, but also challenging sensory perception. Do you remember how it felt listening to this voices, singings and chants? For me when you talked about it, I visualised something like a chorus, like chants or prayers in a way. The object referring much to smth. auratic producing a monumental gesture by a minimal one. Relating the object to your body, the materiality to our understanding of power and dissent. Sounds religious but I think it could be really strong to mimic smth in between anarchic, restoring collective power and freeing the inner voice, self etc..’(Arhun)