<div dir="ltr"><div><div><div><span style="font-family:georgia,serif"><span style="color:rgb(255,0,255)">Ràdio Web MACBA's </span><a href="http://rwm.macba.cat/en/radioactivity-tag">RADIOACTIVITY </a>series
bring backs highlights in the history of twentieth-century radio, in a
kind of homage to the medium and the opportunities for interaction,
creation, imagination and dissidence it opened up since its birth.<br><br></span></div><span style="font-family:georgia,serif">In <a href="http://rwm.macba.cat/en/specials/ems-mats-lindstrom/capsula">RADIOACTIVITY #4. Elektronmusikstudion (EMS) </a>Mats
Lindström takes us on journey to recover the history of EMS and how it
forged prescient tensions in the artistic avant-gardes, touching on the
radical sound poetry of the text-sound movement,
experimental radio drama and the futuristic adventure of computer music.<br><br>Link: <a href="http://rwm.macba.cat/en/specials/ems-mats-lindstrom/capsula">http://rwm.macba.cat/en/specials/ems-mats-lindstrom/capsula</a><br></span></div><span style="font-family:georgia,serif">Text+playlist: <a href="http://rwm.macba.cat/uploads/20170918/EMS_eng.pdf">http://rwm.macba.cat/uploads/20170918/EMS_eng.pdf</a></span></div><div><br></div><div><br></div><div><br></div><div><span style="font-family:georgia,serif"><a href="http://rwm.macba.cat/en/specials/ems-mats-lindstrom/capsula">RADIOACTIVITY #4. Elektronmusikstudion (EMS)</a>:</span><br><span style="font-family:georgia,serif"><br></span></div><div><span style="font-family:georgia,serif">Formerly an engineer in the electronics industry, <b>Mats Lindström</b>
is a composer and musician whose intermedia work has been presented in
concerts, theatre and dance productions as well as in the form of
radio-art and sound installations. Mats has also been involved with the
artistic community of the Fylkingen Society since the 1980s and is
currently the director of the Elektronmusikstudion (EMS), the center for
Swedish electroacoustic music and sound art in Stockholm.<br><br>Founded
in 1964, the EMS has since become one of the most important studios for
research and radical art and music in Europe. Karl Birger Blomdahl,
composer and the first music director of the Swedish Radio, had an
electronic music studio built in 1965 as a central hub for the EMS. 'The
Sound Workshop' opened its doors to composers on the site of an old
radio theater studio and was directed by Knut Wigen, a radical Norwegian
composer and electronic music pioneer. He envisioned an EMS that was
not to be just an electroacoustic studio, but should also operate as a
research institution of international reach. His understanding of the
role the EMS should play eventually led to the investment in an advanced
computer music studio in 1970. <br><br>It could be argued that the
somewhat divergent visions behind each of these studios and workstations
came to embody some of the conflicting approaches within the EMS. The
futuristic research-based approach fostered by Wigen was far from
consensual, as some composers believed the EMS should allow for
empirical, hands-on experimentation. And yet, it was also this very
pluralism that provided scope for the EMS to both contribute decisively
to the advancement of electronic music and to play a pivotal role in the
emergence of the 'text-sound' movement in the sixties. <br><br>An
intermedia genre combining electro-acoustic elements and sound poetry,
text-sound drew from earlier efforts in poésie concrete, as well as from
other movements with an interest in the use of human speech free from
conventional values such as Fluxus and Lettrism. In 1953, after
attending the first Swedish Radio and Fylkingen Society electronic music
concert with Pierre Henry and Pierre Schaeffer, Swedish artist Öyvind
Fahlström wrote a manifesto for concrete poetry. More than a decade
later, the Swedish Radio broadcasted his pioneer radio piece “Fåglar I
Sverige (Birds in Sweden)”. Ilmar Laaban, Lars-Gunnar Bodin, Åke Hodell
and Bengt Emil Johnson would soon follow in his footsteps and become
references within the text-sound tradition.<br><br>Throughout the decades,
the complexity and scope of production values around EMS made it a hub
for artists such as Rune Lindblad, Ákos Rózmann, Henri Chopin, Sonja
Åkesson and Sten Hanson. It also laid the groundwork for the more
permeable and diverse environment that can be found today at EMS: an
open studio for sound art, live electronics, media, conservatories and
art school programs housing around 300 producers and composers each
year.<br><br><b>Timeline:</b><br><b>01:08</b> Elektronmusikstudion, Stockholm<br><b>02:26</b> The Fylkingen Society<br><b>05:02</b> Karl-Birger Blomdahl and the ‘The Monday Group’<br><b>06:16</b> Power struggles<br><b>10:06</b> Knut Wiggen’s radical computer music<br><b>13:31</b> Waiting for the future in post-war Sweden<br><b>18:13</b> Changes in approach: the Lars-Gunnar Bodin era<br><b>21:10</b> Exclusions at EMS<br><b>25:24</b> Backdoors to Fylkingen, EMS and the Swedish Radio<br><b>30:17</b> Radio drama and the origins of Text-sound<br><b>33:22</b> Öyvind Fahlström’s Manifesto for concrete poetry <br><b>36:04</b> Translated by Ilmar Laaban <br><b>37:45</b> The language department and the early days of Text-sound<br><b>43:16</b> ‘Semicolon; Seance’<br><b>46:51</b> The Text-sound festival<br><b>48:02</b> The Workshop Studio and the Computer Music Studio<br><b>56:23</b> Defining Text-sound<br><b>01:00:37</b> A Fluxus attitude<br><b>01:04:31</b> Technicians and studio assistance<br><b>01:09:13</b> Tech trends and production values at EMS<br><br></span></div><span style="font-family:georgia,serif"><font size="6"><span style="color:rgb(255,0,255)"><u>E/N/J/O/Y</u></span></font><br></span><div><span style="font-family:georgia,serif"><br><br></span></div></div>