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