1.30.2009
1.28.2009
Reminesce Return Remix Recycle Refreakout
That resounding sound is being put together again for next week's "episode" and I wanted to take a moment and reflect on what happened this past week:
1) I went to bed at 9:45 and lay there awake until 3 when I decided to cut my losses, shower, and go do my show.
2) The show went live on time. I played most of what I said (missed the last two Tape Beatles bits).
3) I spit some talk over the microphone doing my best to sound professional, doing my best to sound like I knew what I was doing.
4) I broadcast in the dark. I arrive to an empty studio, I hum lullabies to a sleeping city, I leave an empty studio.
5) I buy milk at Kum & Go, return home and read the Shape of Time until sleep takes over at 6 AM.
6) I dream about the shows to come and how I will take more control in crafting this hour.
7) I meet with production people. I begin to craft a denser, more elaborate, more literate show. I email friends with the link to this blog. I am looking for collaborators, I am looking for stories, I am looking for the institute of storytelling, I am whispering charms to this city while it sleeps and building promos for this show, this station, this city.
8) I am looking for a microphone. I have just the place.
9) I am blogging about it.
The adventure continues, the production produces vibrations and these reverberations chime like bells. Bells questioning their sound. Bells ringing to ring. Ring bells ring.
The sound comes from the center.
1) I went to bed at 9:45 and lay there awake until 3 when I decided to cut my losses, shower, and go do my show.
2) The show went live on time. I played most of what I said (missed the last two Tape Beatles bits).
3) I spit some talk over the microphone doing my best to sound professional, doing my best to sound like I knew what I was doing.
4) I broadcast in the dark. I arrive to an empty studio, I hum lullabies to a sleeping city, I leave an empty studio.
5) I buy milk at Kum & Go, return home and read the Shape of Time until sleep takes over at 6 AM.
6) I dream about the shows to come and how I will take more control in crafting this hour.
7) I meet with production people. I begin to craft a denser, more elaborate, more literate show. I email friends with the link to this blog. I am looking for collaborators, I am looking for stories, I am looking for the institute of storytelling, I am whispering charms to this city while it sleeps and building promos for this show, this station, this city.
8) I am looking for a microphone. I have just the place.
9) I am blogging about it.
The adventure continues, the production produces vibrations and these reverberations chime like bells. Bells questioning their sound. Bells ringing to ring. Ring bells ring.
The sound comes from the center.
1.26.2009
TRS (#1) 1-27-09: "J.E.Tsun says Hello, no disclaimers, no excuses, sound is cited"
"Hello I am your host J.E.Tsun," I may start by saying something of this sort. On here, though, within this blog's code I'm gonna keep it kind of bloggy (read = unprofessional) and just wax on the fax yo.
This evening (or tomorrow morning if your that type of person) I will be introducing the show to the world (or the few sleepless souls orbiting the Old Capitol) and I'm basically shooting for a technically sound show. I'm going for a decent flow, no gaffs, no meltdowns, no, actually... I'm setting the bar even lower: I will declare victory if I get to the studio in time.
But insecurity and self-deprecation aside, here's the playlist:
1. I will start things off with bpNichol's, Pome Poem (as blessings for the show). It's from his Ear Rational, 1982, more info available here: www.ubu.com/sound/nichol.html
2. William S. Burroughs - Recalling All Active Agents (www.ubu.com/sound/burroughs.html)
3. Track 25 from DJ Spooky's Rhythm Science, artists on the track listed as: Oval vs. Yoshihiro Hanno, Oval vs. Main, David Shea, Marcel Duchamp, track name: "April (remix] + SDII Audio Remplate + Satiricon + Some Texts From L'Infintif"... The album is part of a book produced by Mediawork/MIT Press 2004
4. Christian Bok - Intro & Chapter A from Eunoia... www.ubu.com/sound/bok.html - If you don't know about this book check out the link. Each chapter is limited to the vowel of its title... I will be featuring the whole book over the course of this show... I can't wait til we get to U...
5. Duchamp reads "The Creative Act" - www.ubu.com/sound/duchamp.html
6. "Unclean" by Psychic TV from The Dial-A-Poem Poets album Better An Old Demon Than a New God... www.ubu.com/sound/demon.html
7.James Joyce - Anna Livia Plurabelle (Finnegans Wake) > London, 1929 - www.ubu.com/sound/joyce.html
8. And look what I found on UBU... Iowa City's own: The Tape Beatles... 4 tracks (in order aired: Beautiful necessity, Education of the will, The man of to-morrow, Body of his desire) from the album Good Times (www.ubu.com/sound/pw/good_times.html)
Two thoughts on background talk music (there must be a radio term for this filler)... anyway, I'm thinking either Seth Price's Vid-Trax Continuous Mix (40 minutes of video game soundtracks) or viral symphOny by Joseph Nechvatal (which is rather harsh at points, but what the hell).
A note on resources: you may have noticed my links all have the same base web address... ubu.com... Ubuweb is an internet archive of most of the historical and contemporary "sound" work I will be playing on this show. I built this show mining UBU, this show is totally dependent on UBU, this specialty show exists from the blood of UBU... KRUI has no afliation with UBU and I am comfortable using them as a resource because that's what they are there for, to make available what is otherwise obscure or defunct. Here see for yourself: www.ubu.com/resources/index.html... my favorite line from their dictum is this:
Totally independent from institutional support, UbuWeb is free from academic bureaucracy and its attendant infighting, which often results in compromised solutions; we have no one to please but ourselves.
I, too, have no one to please but myself. I am here out of delight. One hour of sound. That is the point of That Resounding Sound!
Comments welcome.
This evening (or tomorrow morning if your that type of person) I will be introducing the show to the world (or the few sleepless souls orbiting the Old Capitol) and I'm basically shooting for a technically sound show. I'm going for a decent flow, no gaffs, no meltdowns, no, actually... I'm setting the bar even lower: I will declare victory if I get to the studio in time.
But insecurity and self-deprecation aside, here's the playlist:
1. I will start things off with bpNichol's, Pome Poem (as blessings for the show). It's from his Ear Rational, 1982, more info available here: www.ubu.com/sound/nichol.html
2. William S. Burroughs - Recalling All Active Agents (www.ubu.com/sound/burroughs.html)
3. Track 25 from DJ Spooky's Rhythm Science, artists on the track listed as: Oval vs. Yoshihiro Hanno, Oval vs. Main, David Shea, Marcel Duchamp, track name: "April (remix] + SDII Audio Remplate + Satiricon + Some Texts From L'Infintif"... The album is part of a book produced by Mediawork/MIT Press 2004
4. Christian Bok - Intro & Chapter A from Eunoia... www.ubu.com/sound/bok.html - If you don't know about this book check out the link. Each chapter is limited to the vowel of its title... I will be featuring the whole book over the course of this show... I can't wait til we get to U...
5. Duchamp reads "The Creative Act" - www.ubu.com/sound/duchamp.html
6. "Unclean" by Psychic TV from The Dial-A-Poem Poets album Better An Old Demon Than a New God... www.ubu.com/sound/demon.html
7.James Joyce - Anna Livia Plurabelle (Finnegans Wake) > London, 1929 - www.ubu.com/sound/joyce.html
8. And look what I found on UBU... Iowa City's own: The Tape Beatles... 4 tracks (in order aired: Beautiful necessity, Education of the will, The man of to-morrow, Body of his desire) from the album Good Times (www.ubu.com/sound/pw/good_times.html)
Two thoughts on background talk music (there must be a radio term for this filler)... anyway, I'm thinking either Seth Price's Vid-Trax Continuous Mix (40 minutes of video game soundtracks) or viral symphOny by Joseph Nechvatal (which is rather harsh at points, but what the hell).
A note on resources: you may have noticed my links all have the same base web address... ubu.com... Ubuweb is an internet archive of most of the historical and contemporary "sound" work I will be playing on this show. I built this show mining UBU, this show is totally dependent on UBU, this specialty show exists from the blood of UBU... KRUI has no afliation with UBU and I am comfortable using them as a resource because that's what they are there for, to make available what is otherwise obscure or defunct. Here see for yourself: www.ubu.com/resources/index.html... my favorite line from their dictum is this:
Totally independent from institutional support, UbuWeb is free from academic bureaucracy and its attendant infighting, which often results in compromised solutions; we have no one to please but ourselves.
I, too, have no one to please but myself. I am here out of delight. One hour of sound. That is the point of That Resounding Sound!
Comments welcome.
1.22.2009
Manufacturing the Thick Sound Hour (Notes)
Here I am showing all my cards, holding them up to the mirror of empty exhibitionism (for my own pleasure), trying to progress my thoughts by spitting them out into uncharted cyberspace (as uncharted = unread).
1. The beginning hours of the show (and by beginning hours I am talking about the first couple weeks as I am programmed for one episode per week) revolve around influences. I suspect much of DJ Spooky's Rhythm Science in early stages, because it brings some palatable sound scapes/beats to the forefront while interspersing historical sound work; it is already a clever remix. There will be some John Cage (no 4.33, sorry), perhaps interviews, I'm also interested in Roni Horn's Saying Water, although I'm not sure where that fits right now. Oh, it's kind of ridiculous to name names here... I basically wanted to mention Rhythm Science because it is within its spirit that I am pursuing this endeavor.
2. From here I hope to draw some narrative/form into the hour, and the "theme" I'm circling is the raw production of art. This moves the context of the show into two simultaneous threads: conversations on the production of art and the actual product of that production. In other words, the show on some level is about producing the show, but on another about making anything.
3. All music, songs, noise, interviews, everything will be thoroughly credited and accounted for (obvious, but just for the record).
4. One particular theme I'm interested in is "boundaries." The current for this show will revolve around how we find what we're up against as it pertains to the production of art. For this show I will be interviewing a U of I artist who cut a window into a fence.
5. Other themes I'm playing with: infinity, imaging, and ice.
6. As the show is being built from the bubbles of time, the resonating reverberations will congeal and the will of words will become solid before returning to air.
1. The beginning hours of the show (and by beginning hours I am talking about the first couple weeks as I am programmed for one episode per week) revolve around influences. I suspect much of DJ Spooky's Rhythm Science in early stages, because it brings some palatable sound scapes/beats to the forefront while interspersing historical sound work; it is already a clever remix. There will be some John Cage (no 4.33, sorry), perhaps interviews, I'm also interested in Roni Horn's Saying Water, although I'm not sure where that fits right now. Oh, it's kind of ridiculous to name names here... I basically wanted to mention Rhythm Science because it is within its spirit that I am pursuing this endeavor.
2. From here I hope to draw some narrative/form into the hour, and the "theme" I'm circling is the raw production of art. This moves the context of the show into two simultaneous threads: conversations on the production of art and the actual product of that production. In other words, the show on some level is about producing the show, but on another about making anything.
3. All music, songs, noise, interviews, everything will be thoroughly credited and accounted for (obvious, but just for the record).
4. One particular theme I'm interested in is "boundaries." The current for this show will revolve around how we find what we're up against as it pertains to the production of art. For this show I will be interviewing a U of I artist who cut a window into a fence.
5. Other themes I'm playing with: infinity, imaging, and ice.
6. As the show is being built from the bubbles of time, the resonating reverberations will congeal and the will of words will become solid before returning to air.
1.20.2009
Transparency in Production OR Start Simple OR How I Got This Show And What I Plan To Do With It
Name of show: Avant Air or …THAT RESOUNDING SOUND!
My intention is to use and explore the database of sound art/poetry/cultural audio to create a unique radio hour with fellow University of Iowa art students. One possibility would be to have a guest each week from the graduate college in the SAAH. This guest would be someone with interest in sound art/poetry, but more importantly, a desire to produce an aesthetic hour of remixed sound and would help me create the week’s show…
Please tell us about your experience (if any), such as prior radio work, relevant to your areas of interest.
I am entering my final semester as an MFA candidate in photography, but with a keen interest in sound art/poetry. I have hosted several shows in the past, mostly as a rotation DJ at other college radio stations (see next question). I also have several personal projects that revolve around sound (and sound for video) and I very much see this as an opportunity to create and present a remix of sound culture expand the conversation with other grad students/artists surrounding sound art/poetry.
Why do you want to work for KRUI? What do you expect to gain from working at the station? What skills make you a good candidate for working at KRUI?
Like I said above, I have worked as on on-air DJ at two previous college radio stations (KTEQ and KBHU in the Black Hills region of SD) and am excited at the opportunity to be again involved in radio. I have enjoyed the programming at KRUI since I came to Iowa City in 2003 and believe in the role of community based radio. With the specialty show I am proposing, I hope to explore the genre of the art/sound/noise poetry, as well as the notion of artistic collaboration, and extend that exploration to the community.
In your opinion, what are KRUI's roles in the community?
I believe your question contains it’s own answer. A locally based radio station with a wide selection of diverse programming has the power to bring people together in a certain atmosphere and enhance the local culture. The show I’m proposing would be unique to college radio in that it not only presents historical and contemporary sound “footage,” but showcases local/university artists utilizing their coherence in crafting an object (in this case, a weekly hour of radio airtime).
What's the show about?
The show I’m proposing explores avant garde movements in sound from sound poetry to sound pieces from the art world to experimental noise. It will incorporate the knowledge of current artists/grad students (as guests or collaborators) working in sound. Using the large archive of UBUWeb (http://ubuweb.com/), its tangents (Penn Sound, Artmob), and the ubiquity of cultural artifacts (such as movie clips) that can be easily turned into mp3s or other “streaming” audio as a starting point, I intend to create an hour show each week that explores historical to contemporary sound practices within the framework of two working artist’s (myself and guests) tastes.
A note on UbuWeb: UbuWeb is an open source sound/art collection, a gathering place for many limited and rare recordings. Through Ubu and the possibilities of its archive, I hope to put together an appealing show for a culturally sophisticated audience based on avant-garde sound recordings and historical movements (for example: dada sound poetry).
What types of music will you be playing?
In exploring the reaches of avant garde practices in sound, the show will run the gamut from historical to contemporary recordings. So a typical evening could see a playlist that ranged from James Joyce reading Anna Livia Plurabelle to a bpNichol sound poetry to DJ Spooky remixing William S Burroughs with dialogue from a Tarantino movie (abiding FCC regulations, of course) playing off the DJs “narrative” (if you will).
Where does this show, in your opinion, fit into KRUI programming?
I think the specialty show I’m proposing is a culturally relevant negotiation between literature, art, and sound. I believe this would attract an audience interested in the historical as well as contemporary aspects of this field, but it would also invite an audience hungry for an invigoratingly avant (if you will, again) produced hour of sound. By producing the show in collaboration with local artists, the material broadcast becomes an ephemeral “sound sculpture” and the notion of radio progresses.
Playlist Sample. We ask that you provide and sample setlist of the music that you would play on your show. It's important to not only have enough music for your show, but for us to have a good understanding of the types and genres of music that you will be playing over the air.
1. Hugo Ball - Karawane
2. Phillip Glass – Nova Convention
2. James Joyce – Anna Livia Plurabelle
3. bpNichol – Pome Poem (http://www.bpnichol.ca/media/audio/bpnichol_pome_poem)
4. Erik Satie
5. Anat Pick – Live from Shambaugh house (second half of recording at http://at-lamp.its.uiowa.edu/virtualwu/index.php/archive/record/anat_pick_and_alina_nelega_reading/)
6. Sonic Youth - Audience “DJ Spooky Remix”
7. Charlotte Moorman – Answering Machine: Lennon, Cage, Yoko Thanksgiving
8. Jackson Mac-Low – The 8-Voice Stereo-Canon Realization of The Black Tarantula Crossword Gatha
9. interspersed with dialogue from Chris Marker’s Le Jetee
10. William Carlos Williams – The Defective Record
11. John Baldesarri – Second Language, Trying For The Worst
12. Dan Graham – My Religion: Extract from a work tape: Ann Lee
13. Gertrude Stein – If I Told Him: A Completed Portrait of Picasso
14. Christian Bok – excerpts from Eunoia
15. Kenny Goldsmith - Traffic
16. a dialogue from Alphaville
17. Yo La Tengo – Black Flowers
18. The DJ(s) read from Spaghetti Dreadful by Gustave Morin
19. Sten Hanson – My Galloping Heart
20. Vito Acconci – The Bristol Project
My intention is to use and explore the database of sound art/poetry/cultural audio to create a unique radio hour with fellow University of Iowa art students. One possibility would be to have a guest each week from the graduate college in the SAAH. This guest would be someone with interest in sound art/poetry, but more importantly, a desire to produce an aesthetic hour of remixed sound and would help me create the week’s show…
Please tell us about your experience (if any), such as prior radio work, relevant to your areas of interest.
I am entering my final semester as an MFA candidate in photography, but with a keen interest in sound art/poetry. I have hosted several shows in the past, mostly as a rotation DJ at other college radio stations (see next question). I also have several personal projects that revolve around sound (and sound for video) and I very much see this as an opportunity to create and present a remix of sound culture expand the conversation with other grad students/artists surrounding sound art/poetry.
Why do you want to work for KRUI? What do you expect to gain from working at the station? What skills make you a good candidate for working at KRUI?
Like I said above, I have worked as on on-air DJ at two previous college radio stations (KTEQ and KBHU in the Black Hills region of SD) and am excited at the opportunity to be again involved in radio. I have enjoyed the programming at KRUI since I came to Iowa City in 2003 and believe in the role of community based radio. With the specialty show I am proposing, I hope to explore the genre of the art/sound/noise poetry, as well as the notion of artistic collaboration, and extend that exploration to the community.
In your opinion, what are KRUI's roles in the community?
I believe your question contains it’s own answer. A locally based radio station with a wide selection of diverse programming has the power to bring people together in a certain atmosphere and enhance the local culture. The show I’m proposing would be unique to college radio in that it not only presents historical and contemporary sound “footage,” but showcases local/university artists utilizing their coherence in crafting an object (in this case, a weekly hour of radio airtime).
What's the show about?
The show I’m proposing explores avant garde movements in sound from sound poetry to sound pieces from the art world to experimental noise. It will incorporate the knowledge of current artists/grad students (as guests or collaborators) working in sound. Using the large archive of UBUWeb (http://ubuweb.com/), its tangents (Penn Sound, Artmob), and the ubiquity of cultural artifacts (such as movie clips) that can be easily turned into mp3s or other “streaming” audio as a starting point, I intend to create an hour show each week that explores historical to contemporary sound practices within the framework of two working artist’s (myself and guests) tastes.
A note on UbuWeb: UbuWeb is an open source sound/art collection, a gathering place for many limited and rare recordings. Through Ubu and the possibilities of its archive, I hope to put together an appealing show for a culturally sophisticated audience based on avant-garde sound recordings and historical movements (for example: dada sound poetry).
What types of music will you be playing?
In exploring the reaches of avant garde practices in sound, the show will run the gamut from historical to contemporary recordings. So a typical evening could see a playlist that ranged from James Joyce reading Anna Livia Plurabelle to a bpNichol sound poetry to DJ Spooky remixing William S Burroughs with dialogue from a Tarantino movie (abiding FCC regulations, of course) playing off the DJs “narrative” (if you will).
Where does this show, in your opinion, fit into KRUI programming?
I think the specialty show I’m proposing is a culturally relevant negotiation between literature, art, and sound. I believe this would attract an audience interested in the historical as well as contemporary aspects of this field, but it would also invite an audience hungry for an invigoratingly avant (if you will, again) produced hour of sound. By producing the show in collaboration with local artists, the material broadcast becomes an ephemeral “sound sculpture” and the notion of radio progresses.
Playlist Sample. We ask that you provide and sample setlist of the music that you would play on your show. It's important to not only have enough music for your show, but for us to have a good understanding of the types and genres of music that you will be playing over the air.
1. Hugo Ball - Karawane
2. Phillip Glass – Nova Convention
2. James Joyce – Anna Livia Plurabelle
3. bpNichol – Pome Poem (http://www.bpnichol.ca/media/audio/bpnichol_pome_poem)
4. Erik Satie
5. Anat Pick – Live from Shambaugh house (second half of recording at http://at-lamp.its.uiowa.edu/virtualwu/index.php/archive/record/anat_pick_and_alina_nelega_reading/)
6. Sonic Youth - Audience “DJ Spooky Remix”
7. Charlotte Moorman – Answering Machine: Lennon, Cage, Yoko Thanksgiving
8. Jackson Mac-Low – The 8-Voice Stereo-Canon Realization of The Black Tarantula Crossword Gatha
9. interspersed with dialogue from Chris Marker’s Le Jetee
10. William Carlos Williams – The Defective Record
11. John Baldesarri – Second Language, Trying For The Worst
12. Dan Graham – My Religion: Extract from a work tape: Ann Lee
13. Gertrude Stein – If I Told Him: A Completed Portrait of Picasso
14. Christian Bok – excerpts from Eunoia
15. Kenny Goldsmith - Traffic
16. a dialogue from Alphaville
17. Yo La Tengo – Black Flowers
18. The DJ(s) read from Spaghetti Dreadful by Gustave Morin
19. Sten Hanson – My Galloping Heart
20. Vito Acconci – The Bristol Project
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