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2wayradio/nowayradio : each receiver a potential transmitter!

mxhz.org and society of algorithm     print
 
Two Way Radios (2WR) is a project for multiple 2-way audio streams, after \\"La Radia\\" by F. T. Marinetti and Pino Masnata [1933], \\"The Radio as an Apparatus of Communication\\" by Bertolt Brecht [1932], \\"Imaginary Landscape No. 4\\" by John Cage [1951].

John Cage «Imaginary Landscape No. 4»

Introduced to it by Christian Wolff, Cage began to use the I Ching in the composition of his music in order to introduce an element of chance over which he would have no control. He used it, for example, in the Music of Changes for solo piano in 1951, to determine which notes should be used and when they should sound. He used chance in other ways as well; Imaginary Landscape No. 4 (1951) is written for twelve radio receivers. Each radio has two players, one to control the frequency the radio is tuned to, the other to control the volume level. Cage wrote very precise instructions in the score about how the performers should set their radios and change them over time, but he could not control the actual sound coming out of them, which was dependent on whatever radio shows were playing at that particular place and time of performance.
In the composition for 12 radios, 24 performers, and director, two performers each operate radios whose kilocycle, amplitude, and timbre changes are notated. The score was conceived using the same methods as those used for the composition «The Music of Changes,» namely the factors of chance adapted from the Chinese «Book of Changes.» According to Cage, this complex and time-consuming compositional process has the following goal
»It is thus possible to make a musical composition the continuity of which is free of individual taste and memory (psychology) and also of the literature and ›traditions‹ of the art. The sounds enter the time-space centered within themselves, unimpeded by the service to any abstraction, their 360 degrees of cricumference free for an infinite play of interpenetration. Value judgments are not in the nature of this work as regards either composition, performance, or listening. The idea of relation being absent, anything may happen. A ›mistake‹ is beside the point,, for once anything happens it authentically is.«
(John Cage 1952, Silence, 1967, Cambridge Mass. S. 59.)

networked performances
Recent technological and telecommunication developments -- the internet's two-way communication model, relatively inexpensive access to computers and networks -- have given rise to a powerful and diverse range of creative production resulting in a bleedover between and across disciplines as people explore unconventional uses of tools and technologies. Current activity indicates that trends emergent from computer network based practice are changing the nature of performance.

2wayradio / LISTme

Each of the participant location sends up one stream to an icecast2 server under mp3 or ogg vorbis. Each of the participants can select from the streams present on the server, bring it into his/her own program setup,analyze it, change it, add other sound to it, visualize it, leave it like it is, and send it back up in her/his streaming connection. As such dependent loops that are changed by each iteration are created.
In the performance space the 4 streams are placed on a speaker in each corner, and all additional sounds can be placed in the middle [x marks the spot].

As an initial content for the piece mxHz.org is making sonorisations starting from the text by barbara huber (radio fro, linz). After a long talk about language, communication and music, we came to the conclusion that "language is sound to my ears" after Paul Demarinis dictum "music is sound to my ears". As it is provided as a stream it will be further processed and altered by each participating artist/group in a connected way.

software: pd, max, supercollider with additional extensions for shoutcast/icecast2 upload/download, and realtime speech synthesis in Mbrola.

www.kunstradio.at/THEORIE/theorymain.html
www.medienkunstnetz.de/source-text/8/
www.medienkunstnetz.de/works/imaginary-landscape-4/
www.icecast.org/
pure-data.iem.at/
cycling74.com
tcts.fpms.ac.be/synthesis/mbrola.html

 

 


 

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