All people are invited to contribute to a free radio project.
The submission is open to everybody and every language.
ESTMAN RADIO is an ongoing free podcast radio that gives to all the possibility of share sounds and opinions. You are invited to contribute to ESTMAN RADIO by submitting your radio dramas, lectures, music, speeches, debates, interviews, sound art works, stories, ideas…
As part of the Institute for Contemporary Art 's inaugural exhibition Declaration (August 21–September 9, 2018), part of the gallery will be transformed into a “self-service” radio platform. In this space, anyone may record ideas, conversations, and declarations; listen as others record; or browse the podcast archive. You may also submit contributions by filling this form. The files should be in mp3 format and be smaller than 30MB.
Turbulenties is a project by Frederik Van den Broeck en Dirk Cousserier for Sint-Donatus, a secondary school in Merchtem, Belgium. About 600 youngsters (14-18 years) have been asked about their concerns, worries and dreams for the future. Here is a selection from the answers from the youngest group (14-16y).
Voices: Axelle Bavré, Robin Op ‘t Rood, Tobias Plasschaert, Alessandra Poppe, Laurent Verbaendert.
Recording: Mieke Van Praet
On May 23 another selection will be read en recorded during a live performance at the Sint-Donatus Institute.
In my project, The Living Water, the viewer will interact with the painting displayed on the touch surface installation. Through the thermo and motion sensors, the viewer will interact with ART adding ripples, colors, and music. This small mp3 file does not contain all the detailed descriptions of hardware, sensors, abstract software, materials, resources, tools, user interaction tutorial, costs and future development.
Registration of Grosse Monodie: Knäuel (2014), space music of Hans-Peter Frehner, played by the ensemble für neue musik zürich at the Kunst Halle Sankt Gallen the 13th of april 2014 as finissage for the exhibition of Marinella Senatore. The ENMZ are Hans-Peter Frehner/flute and his colleagues Manfred Spitaler/clarinet, Viktor Müller/ keyboard, Sebastian Hofmann/vibraphone, Urs Bumacher/violin and Nicola Romanò/violoncello dedicate themselves to contemporary music. The ensemble takes personal charge of their program and financial marketing risk. www.ensemble.ch
Was ist Klassik? ISt das Klassik? – moantliche Sendereihe
“Zeit als Grenze der Musik”
Conlon Nancarrow, ein Leben als Piano-Player Komponist. Das Selbstspielklavier liess Nancarrow praktisch grenzenlose Freiheit in der Gestaltung. Seine Kompositionen auf Papierrollen, haben bis zu 200 Anschläge pro Sekunde. Namhafte Musiker wie John Cage, György Ligeti und Frank Zappa interessierten sich für seine Kompositionen.’
Ombre (Shadows) is a composition for electronic music and piano .The Milan tube and The Divine Comedy written by the italian poet Dante Alighieri(XIV sec.) is the Leitmotiv of the whole composition with the mind-trip thematic . In particular is cited the “Hell-3th chant” with Charon ,the ferryman of Hades who carries souls of the newly deceased across the rivers Styx and Acheron. Ombre is a travel in our mind when we are alone with ourselves also if we’re doing a trip with other persons and we start to think to something or to anything. All persons around become shadows for us but we never think that we are also a shadow for others. Voices, tube’s noises and mind’s lines works together to build this mystical composition.
Sospeso / 2014
Sospesois a composition for electronic music and cello solo with the possibility of a live performance. All the electronic sounds come from the recording of cello sounds. The soloist plays on a fixed media that is composed by electronic and a cello quartett pre-recorded. Sospeso means that period when nothing is going ahead, everything stops in your life. You try to go on but nothing happen.
Plasma / 2014
The creative idea for this piece comes from the word “Plasma” that is often called the “Fourth State of Matter”. Plasma is a distinct state of matter containing a significant number of electrically charged particles, a number sufficient to affect its electrical properties and behavior. Plasma also refers to the liquid component of blood that holds the blood cells in suspension. Energy, thunder and blood inspired my composition process. I started by recording some sounds with a new percussion instrument, called “Sinori”, a thunder-sheet, that have been processed with these images in my mind.
Piano Inside / 2014
Piano Inside is a composition for electronic music and piano with the possibility of a live performance. All the electronic sounds come from the recording of keyes, plastic glass used or thrown inside the piano chords and beats on the piano wood: everything comes from the “piano inside”. This is also the first meaning of the title. The second meaning is about the poetic of this piece: with “piano” I mean the musical therm of it and with “inside” I mean the man’s soul. All the man’s stresses comes from a bad way to comunicate. The psychological attacks that we suffer everyday by other persons, media, wars, distruction of nature, are they rights? Do the man’s neurosis come from that? The piano sound in it is the man soul taht is deep, alive and need love and kindness. Is possible to divide it in three different part: the first one is generated by an “electronic-attack” sound and it’s a sort of introduction with a question: should I defend? It continue with different answers. The second part is about what really amn wants: kindness. The third part is the hate that man feel against attacks but he’s confused and he closes with the same question of the beginning.
It is quite tricky for one who’s afraid of being in locked up rooms to stay calm in an airplane. So you need to know the right tricks. Or maybe the right medicine. I got mine in my pocket but I never took it. It’s just a good feeling to have something if your mind is starting to twist. The real trick is to get yourself into a mood of being stressed about the fact that you have to take another plane. Like one who has to take planes every day. One who knows about the crazy airbus situation is a man called Brian Eno. He made a whole record for this, it’s called Music For Airports. I always have it on my iPod for those moments. Eno had the idea of making a record which should be played at airports all around the world to realx the crazy traveling people. The record was played only one week in Frankfurt as far as i know. Nevermind, you can listen it on your own with your earphones. It was at Gatwick airport, a flight to Zurich. Outside it was quite stormy, sun already went down. Of course i was listening to this record, already sitting in the plane, dealing with a not very easy inner feeling. I starred at my iPod, at the cover of this Airport Music – and so did the guy next to me. He was laughing which made me confused. Then I looked at the guy and i was even more crazy than before. It was Brian Eno himself. It is no fiction, it really happened, even no one believes me. Since then it’s easy to enter the plane, because you can be quite busy when you check out the seats, who’s sitting here, who’s sitting there.
At the studio
The sun was high and the river was low. I was in the huge summer studio with Thomas, besides laughing at paintings he was cooking pasta with gorgonzola and i was looping this sound piece with guitar and organ and after that i was typing around on my cell phone. It was about 34° celsius this afternoon. We didn’t talk much and we had our swim trunks on. Later Thomas had a Skype date with his love in Japan. For this he prepared a nice seating situation on the floor. The very strong coffee was brewed just in the moment his Skype rang. Later we went for a quick jump in the river and even later I washed my hair and then we said ‘see you tomorrow’. Outside it slowly got darker and cooler and inside i got a bit nervous because I knew that I easily could fall in love that evening, which really happenend as far as I can remember.
It was dark outside, a thunder storm. I was waiting for Mauro who said he’ll be there at half past ten. It was even later then. The regular studio light was too bright and reminded me of my dentist. So i looked for some light bulbs i could drive into the lamp cable which one used for some piece. I found one and right next to it there was pink nail paint of some art student girl. I coloured the bulb and let it dry. It was completely dark inside the room. It took a while to dry the bulb, meanwhile i looped this piece. Mauro came and turned the normal studio lights on, which was not a very warm way to say hello. Meanwhile the bulb was dry and looked nicely pink. I turned it into the lamp cable. The mood got quite cheesy. Mauro sat on the drums and played the thing he always plays, some jazz standard, and he screamed 7/8, oh i love 7/8! We messed aroud a bit until his columbian friend came. I was heavy in thinking and so we carried our heavy heads to some heavy metal bar just at the corner. They served pastis with ice and water which was a good thing. Thunderstorm was over and the still warm asphalt steamed the rain back to the atmosphere. We missed the last bus which set us into a feeling of freedom, without time, whithout schedule. A late night plane took its line over this small town and made us talking about things that are far from here and now.
Klingensammlung is the place of the contained things. It’s a part of sounds and measures. Trying to build a home site, the result is a sound box. Hoping to bring themselves some affection, the fetish is the replace of the memory. In the affection of the things, their weight is the best side. Klingensammlung is a stage of “Wunderkammer” project, where there are eidetic objects, parts of rooms and emotional ties. Trying to describe objects that live in the present, the recording of sounds shaped objects would score a link between the distance of the sounds of sights and the proximity of the object.
A social environment evolving like a heavenly body / 2014
A sort of dream, one that unites different types of people from the most widely diverse different places, a vision at times sharp, at times confused, in which noises, sounds and evolutions emerge, where the development of the tone may be captured – at times altered, distorted, but then becoming more and more incisive.
I lose myself, knowing I am not alone.
………. I am in my office at the faculty, after having been captured by images and by the power to activate collective dynamics.
Art dynamics that have the impetus of an outer core, a liquid which creates exchange, an acceleration that changes behaviors and closures.
A new possible drift.
A Pangea communication in which: dance takes place in unsuitable places, the sound, the music interact: with social structures, with pre-organized behaviors, with an atrophied capitalist system.
A theorized drift, according to Lothar Wegener, would continue even today – Greenland would distance itself from Europe at a rate of almost 1 meter per year.
We dance in continents. While the sirens distract …
The ocean floor is splitting and widening, according to Harry Hammond Hess, the continents moving away from the expanding seabed.
Like unexpected human relationships, sought, found, extemporaneous, connected in extending a project, in producing it, in the creation of new structures, unpublished, relational, and open codes.
There is nothing more romantic than the theory of George Howard Darwin – who advanced the hypothesis that the moon was a piece of the earth that broke off eons ago, leaving the Pacific Ocean as a scar.
The moon has a mass slightly greater than 1 per cent of the combined total mass of earth and moon together, small enough to fit into a space as large as the Pacific.
If the moon were actually comprised of material from the outer layers of the earth, it would explain why it does not contain an iron core and has a density much lower than earth. It would also explain why the seafloor of the Pacific is free of continental granite.
The moon was closer to earth than it is today.
The gravitational pull exerted by the moon causes flukes both in oceans as well as in the solid crust of the earth. With the rotation of the earth, the water in the oceans is pushed out of the shallows, while rock layers rise and fall, rubbing against each other.
The resulting friction slowly converts the energy of the earth’s rotation into heat, which causes a gradual increase in its rotational cycle.
Looking back in time to a very remote geological past, one would see that the Earth’s rotation was supposed to be faster, the days significantly shorter, the moon closer and the whole phenomenon quicker.
What is left of a transformation? Of an aggregation to reread social systems?
Synopsis: The work is a comprised of found field recordings of two types of dove- the collared dove (Streptopelia decaocto), which is found in Europe and the United Kingdom and the red-eyed dove (Streptopelia semitorquata), which is native to Africa. The work was a response to the experience of being from South Africa but living in England. While away from home, one constantly compares the places to each other. Sounds that one takes for granted – such as birdsong – are different, but still recognisable. In addition to this, prices are mentally converted in when contemplating a purchase, to which fellow South Africans say- “you just can’t do the conversion”.
Formerly known as The Sun, pendulant, once contained it has spread to become the sky: now the sun dominates over all. The battle for life is lost to the mindless firestorm, the killing heat. In white hot ceaselessness it rules.
Tribulations, centuries arduous, skein through time. The buildings have long melted and the cliffs and trees have flattened to eternal horizon. Any brief peep of sallow green immediately shrivels under the relentless sky.
An uncertain fleck of blue begins wavering in the great blaze. Sharpening to pinpoint definition, the sapphire blue expands. In rich certainty it spreads quickly. Summer night blue-purple overtakes the monstrous raging sovereign. Steadily. To ultimate defeat.
In poignant thoughtful fade, all shades of blue diffuse to cloud blown spring blue illuminated in new light.
Project curated by Francesca Ceccherini and Luca Resta.
“And you know that in the long journey ahead of you, when to keep awake against the camel’s swaying or the junk’s rocking, you start summoning up your memories one by one, your wolf will have become another wolf, your sister a different sister, your battle other battles (…)” (excerpt from Le Città Invisibili, Italo Calvino – p. 36).
One direction defines the opposite direction. There are indications recorded in a rhythm with different intervals. Inspired by the anonymous voice of a mobile navigation system, the voices heard are spoken by young adults. The title L’Autre Cap (The Other Cape) originates from an article by Jacques Derrida written in 1991 a philosophical discourse on the future of Europe.
Sonic Review of David Lynch: The Factory Photographs / 2013
The concept was to compose a piece of sound inspired by the exhibition and reflecting the experience of viewing it.
“I love industry. Pipes. I love fluid and smoke. I love man-made things. I like to see people hard at work, and I like to see sludge and man-made waste.” David Lynch
A short piece based on tape-recorded field recordings made at The Photographer’s Gallery, London at an exhibition of David Lynch’s Factory Photographs. The exhibition is black and white photographs of slightly bleak and foreboding industrial landscapes from around the world. This is my response to a brief asking to make a ‘review’ of something artistic or cultural I had seen recently. I took a tape recorder along to the exhibition and recorded sounds of people talking while viewing the work, using the elevator, opening and closing doors, the sound of myself walking around the exhibition and the dark, ambient tones of Lynch’s own sound installation accompanying the exhibition. The tape recordings were then processed through digital delay, while stop-starting the tape causing the sounds of the tape recorder and the recordings to repeat and overlap to create new sounds. The piece was re-mixed in real-time while being copied between two tape recorders. Some low synth tones were added in response to Lynch’s own sounds. Quite how this constitutes a review I don’t know but there it is.
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