Tout le monde s’appelle Mohamed
Younes Baba-Ali (Ma), 1’29’’, 2013
Imagine a sound that could not only be produced but also heard by the listener, a sound he could physically and instinctively react to. Imagine a direct form of interaction based on sound. This is the beginning of this piece, where, in the street, a voice calls “Moha- med”, an exclamation addressed to any unknown male. A frank and brutal call which lls the gap left by the radio medium, where you can only imagine the listener’s feedback.
In the gap
Hannibal Andersen (Dk), 7’21’’, 2014
In my little seat, in this machine made of metal, I am destined to wait while I am being transported towards my destination. I am forwarded, swiftly, yet my body remains still. My senses unfold and sharpen as time and distance collapse in the gap between A and B. There is no letter between A and B, only a gap. And In this gap, I discover the subtle harmonics in the humming of the engine. There is nothing between these harmonics either, except the ever- present background noise, demanding my attention.
Untitled (the stranger, the water and what I am)
Anna Raimondo (It), 1’31’’, 2012
“(…) Anna Raimondo is aware that every de nition is a limitation, a frontier in itself, something that unites but also separates, that can be impermeable. A stranger splashes her at each de nition she declares about herself as a woman, as a feminist, as an italian, as an artist in a metropolis such as london… each water bucket thrown against the performer carries the innocence and violen- ce of games. By the way, being soaking wet, being baptized, are themselves rites of passage, alluding to uidity, instability, perma- nent changeability. The action here aims at approaching one of the thorniest issues of the time: if identity has effectively become the battleground of political confrontation, what should we expect when nding that no space for self-de nition is any longer availa- ble?” by Maria Iñigo Clavo
Sama Waly (Eg), 4’16’’, 2014
A bodiless voice speaks in rst person, in attempt to de ne ‘I’ … When a voice becomes ‘nothing’, in this nothingness is reborn as language, it transforms into a breath, and eventually reaches silen- ce; you have witnessed the existentialist crisis of language.
Radio Papesse (It), 10’, 2016
A journey into Radio Papesse sonic archive in response to Glis- sant’s approach to relational identity.
Letizia Renzini, Bird Listening // Pierre Garnier, Anthropologie, courtesy Mart, Archivio del900, Fondo Denza // James Webb, Le Marché Oriental (Radio Mix) // Joseph Young, Oxford Street Prea- cher // Aurélie Lierman, Kariakoo // Alessandro Bosetti, Life Expec- tation // Dj Spooky, System Error: Al-Yamamah Mix // Arto Lindsay, Multinatural [Blackout], Sounds from the parade // Alyce Santoro, Gargles in the rat-race choir // Ann Heppermann, Kara Oehler & Jason Cady, Chorus of Refuge // Derek Piotr, Dust_Hum // Adam Leech, Speech Bubble // Falke Pisano, 29 decisions for a time capsule radio piece // Damir Niksic, If I wasn’t muslim
Youssef Ouchra (Ma), 2’33’’, 2013
Breath out, breath out again… Breath out in search of a limit. Fill in the creases. A bag full of breath. Whisper in the veins. Breath the va- cuum in and breath out, and breath out again. A regular exhalation.
Limitele Limbii Mele
Maria Balabas (Ro), 28’41’’, 2015
Ludwig Wittgenstein’s text is the starting point for this artistic ap- proach. I wished to research empirical the semantics which this phrase can receive through the simple translation from one langua- ge to another. For this, I used the social media and the foreign lan- guages departments of the Romanian Broadcasting Corporation. O used every recording people sent me and the result is this colla- ge in which Wittgenstein means not only translation, but different intonations, multiple recording mediums, an invisible international community connected through the very simple response to the question “How would you translate in your language the limits of my language mean etc etc…”
Fried rice, curried chips and a diet coke
Karen Power (Irl), RTÉ , 10’32’’, 2008
In recent times, I have become very interested in using the sound of words and syllables as musical material. I wish to draw on Trevor Wishart’s view in support of my approach to words and language in the context of this piece. ‘I am going to propose that words never ‘mean’ anything at all. Only the people ‘mean’ and words merely contribute toward signifying peoples’ meanings