![]() In 2014 he won Best Audio at the Black &White International Audio Festival (Porto, 2014) and also the Grand Prix at the 26th International URTI Radio Grand Prix, (Turin). Clarke has also been shortlisted for the Prix Italia (Cagliari, 2008), the Prix Europa (Berlin, 2011), the Prix Phonurgia Nova (Paris, 2012) and the Black &White International Audio Festival (Porto, 2013). His new music programme, Nova, has won five consecutive PPI Radio Awards (National Irish Radio Awards) and one New York Festival’s award he’s also won prizes for documentaries on Patrick Kavanagh, Glenn Gould, The Doors, and Jimi Hendrix. 1967) is an award-winning radio broadcaster with RTÉ lyric fm, Ireland. For me Marilyn Monroe sums up radio today and especially in the light of digital technologies-an invitation to go anywhere anytime.īernard clarke (b. So we have Monroe’s voice: “Why, I’d go anywhere in the world with you now…” -in different ambiences, the same spoken sentence eleven times but in six different radio treatments (AM, FM, MW, LW etc.,) a la Warhol multiple times in a grid of radio statics and tunings -just like our radio societies the world over where personas are manufactured, commodified, make noise to pass the time and can be downloaded and consumed like products, repeatedly. I was struck by the similartiy to Andy Warhol’s paintings and decied to make a piece that drew on Marilyn Monroe and briefly, Elvis Presley, or rather an Elvis imitator. One day Colin put up an illustration of six radios in different colours and his repeated plea for the page to deal in Radio and nothing else. Alas, despite repeated pleas from Colin to keep the page about Radio, many continue to post links to my band, my song, my concert, these sunglasses –and so on. The great Australian radio artist Colin Black is administrator on an excellent Radio Art page on Facebook. The final collection of tracks has been presented here with simple fade in/out layering of the discreet recordings without additional multitracking or effects based manipulation. The result is a dramatic interpretation of a naturalist ‘sound walk’. ![]() Each time, the recording balance was again established by open air positioning, and the drone machine was set to complement the immediate ambient sounds. At regular time intervals, the equipment was moved along the course of a stream, then finally onto an ascending bush track. The recording setup was left to run unattended. No mix level adjustments were made during recording, nor changes to the controls of the drone device. Natural sounds were balanced by distance and reverberation against sounds produced by an unattended stochastic drone machine running from battery power. The recording was made with a single stereo microphone and portable recording equipment. The track reflects the immersion of sound occuring in this environment, from the immediate predawn, through the sunrise. The location features a historical hut, and is surrounded by a natural amphitheatre formation. This track was recorded live near Tantawangalo on the ranges of the NSW South Coast, in remote National Park area. which is another way of saying that both noise and signal are equally important in this listening experience: while we are quite far away from many of you, in New Zealand, the radio can paradoxically bring us together, while at the same time emphasising the untranslatability of distance. maybe this extra information / degradation can be considered as a form of ‘transmission artefact’, via a transmitting / receiving / re-recording process enacted on the local level before the show heads to various parts of the world to become a programme for the multiple stations that comprise the radia network, with all their varied geographic locales, and associated sets of cultural contexts & conditions. this relay down the length of New Zealand added an extra dimension to the work by causing it to pick up extra sounds related to its roaming, and extra sonic materiality, while traversing the geographical distance and the particular transmitting and receiving sites / rooms between participating NZ partners. this programme was intercepted and recorded by Sally Ann McIntyre in a domestic room in Dunedin, and the recording was then ‘packaged’ as the radia show you are about to listen to. After individual works’ initial appearances as part of the programming of Artbank, the curated compilation of works which make up this programme for radia was first broadcast as a discrete, unannounced programme on the evening of Wednesday 3 August 2016, by Sam Longmore over the airwaves of the Audio Foundation radio station AFM, located at the Audio Foundation’s premises in the old Parisian tie factory in central Auckland.
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