[spectre] Re-imagining expanded listening, in 5 podcasts

Radio Web MACBA rwm2008 at gmail.com
Thu Aug 19 17:00:41 CEST 2021

Re-imagining expanded listening, in 5 podcasts
1/ AM Kanngieser:
of the things you can hear in a particular space are unique to that space
and at the same time completely ubiquitous. There’s nothing special about
footsteps or the wind. That’s the best way to think about the relationship
between geography and sound.’*

Political geographer and sound artist AM Kanngieser works in the
coordinates between space and sound. This merging of disciplines—which
seems completely normal to AM—tends to be more perplexing to the
compartmentalised world of science and academia than to the undisciplined
field of artistic practice. In this podcast AM Kanngieser reflects on
expanded listening, on the inaudible, and on our anthropocentrism. We
become the listeners as they talk about their long-standing interest in
sound governance and describe the build-up of tensions in the project
‘Climates of Listening’, which was originally meant to amplify campaigns
for self-determination and self-representation in the Pacific.
*PODCAST >* <https://rwm.macba.cat/en/sonia/sonia-314-anja-kanngieser>

2/ Jennifer Walshe:
<https://rwm.macba.cat/en/sonia/sonia-316-jennifer-walshe>*‘I am a
terrible divil, as we would say in Ireland, for writing down overheard
conversations. I love being in really obnoxious hipster cafés, ‘cause
people talk very loudly and the conversations are hilarious and you write
it all down. (...) But it’s fascinating to me, ‘cause this is how real
people speak!.’*

Irish maverick Jennifer Walshe studied composition and often performs as a
vocalist, but her practice and a whopping list of works over the past
twenty years put her in a twilight zone where music, performance art,
theatre, and stage writing intersect and converge. Walshe’s approach to
texts, scripts, and musical scores is based on a recursive process, a kind
of feedback loop which includes and acknowledges all sorts of information
about the text itself. In this podcast, we talk to Jennifer Walshe about
writing, annotating, teaching, collecting, eavesdropping, performing,
faking, and a touch of machine learning.
*PODCAST >* <https://rwm.macba.cat/en/sonia/sonia-316-jennifer-walshe>

3/ Ji Youn Kang: <https://rwm.macba.cat/en/sonia/sonia-320-ji-youn-kang>*‘While
Western music sees a perfect 5th combination as a perfect harmony, in
Korean music the opposite is true. You need to have some kind of broken
part, so that it is natural.’*

Ji Youn Kang’s abstract compositions are infused with her personal blend of
Western experimental sound and Korean ritual music. This hybrid background
also seeps into her live performances, where she explores the primitive and
empowering rhythmic structures of Korean shamanism—often building up from
slow to fast—and noisy sound through an amalgam of handmade analogue
devices, acoustic instruments, and digital signal processing techniques. In
this podcast, Ji talks about Korean ritual music, resonating objects,
noise, self-built instruments, uncertainty and tension, and strategies to
engage online audiences in meaningful communication.
*PODCAST >* <https://rwm.macba.cat/en/sonia/sonia-320-ji-youn-kang>

4/ Dirty Electronics:
is in the listening, or in the methodology in some way, not in the skills
of controlling the devices.’*

Under the moniker of Dirty Electronics, British musician and maker John
Richards explores the crossroads between electronic circuit design and live
performance, picking up the baton of David Tudor’s tradition of ‘composing
inside electronics’. With emphasis on collaborative making and a holistic
approach to performance, Dirty Electronics’ speculative circuits are
documents of a larger collective experience: expanded and quite
unconventional workshops / installations unfurling as 21st-century
happenings within communities of practice with a strong DIT (do it
together) ethos, where the usual divisions between designer, maker,
composer and performer become blurred.

5/ Jonáš Gruska:
I just record a sound because it’s a beautiful thing I need to capture, and
there is no further plan, except that I might listen to it again in the
future. Maybe it will find its place in my work, but a lot of sounds don’t
– they just exist on their own in the database, and that’s completely

Slovak musician, sound artist, and maker Jonáš Gruska is a proud amateur,
honouring the French origin of the term (to *love* what you do). Curiosity
and passion run through pretty much everything he engages in. In our
conversation, which ranged from his site-specific sound installations to
his hand-crafted microphones and audio tools, his recent interest in
mycology, and his playful exploration of the electromagnetic spectrum,
Jonáš used the word ‘fascination’ quite a lot. We talk to Jonáš about
resonating spaces, resonating surfaces, tramways, self-taught electronic
circuitry, field recordings, fermentation, mushrooms, and unusual
*PODCAST >* <https://rwm.macba.cat/en/sonia/sonia-318-jonas-gruska>

Re-Imagine Europe <https://re-imagine-europe.eu/> is a 4-year collaboration
of 10 cultural organizations from across Europe, addressing the social and
political challenges we face today. Co-funded by the Creative Europe
programme of the European Union, Re-Imagine Europe is initiated by Sonic
Acts (NL) <https://sonicacts.com/portal> and coordinated by Paradiso (NL)
collaboration with Elevate Festival (AT) <https://elevate.at/en/>, Lighthouse
(UK) <https://www.lighthouse.org.uk/>, Ina GRM (FR) <https://inagrm.com/fr>
, Kontejner (HR) <https://www.kontejner.org/en/>, Landmark / Bergen
Kunsthall (NO) <https://www.kunsthall.no/>, A4 (SK)
<https://nextfestival.sk/2020/>, Disruption Network Lab (DE)
<https://www.disruptionlab.org/> and Ràdio Web MACBA (ES)
<https://rwm.macba.cat/en>. Under this umbrella and in constant dialogue
with the RIE ensemble programming, Ràdio Web MACBA has produced more than
20 podcasts. Here we feature five expansive, in-depth long listens.
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