Isotopica

exchange

| ɪksˈtʃeɪndʒ, ɛksˈtʃeɪndʒ |noun1 an act of giving one thing and receiving another (especially of the same kind) in return: negotiations should lead to an exchange of land for peace | [mass noun] : opportunities for the exchange of information.

I have always held a fascination for the sheer magic of telephony, with the transmission of disembodied voices across unimaginable distance, combining a direct intimacy with a paradoxical anonymity, a voice speaking directly into ones ear as if relating secrets, with

magical powers to connect us across great distances. I would describe this as

magic in it's purest form, the transformation of base materials into new forms using the ritualised methods of science

A step by step glide through psychogeography

Jimmy Lux whose feet we listen to in this broadcast, on a shared derive en Paris avec moi

Psychogeography was defined in 1955 by Guy Debord as "the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals." It has also been defined as "a total dissolution of boundaries between art and life

From lockdown we take a phantom stroll with Jimmy Fox, inspired by Walter Benjamin, who, drawing on the poetry of Baudelaire, made the Flâneur an emblematic archetype of the modern urban experience. The Flâneur of course evolved  into the psychogeographer via Guy debord  and his theory of the derive

In a dérive one or more persons during a certain period drop their usual motives for movement and action, their relations, their work and leisure activities, and let themselves be drawn by the attractions of the terrain and the encounters they find there… But the dérive includes both this letting go and its necessary contradiction: the domination of psychogeographical variations by the knowledge and calculation of their possibilities.

Iain Sinclair

Peter Ackroyd

Patrick Keiller.

Walter Benjamin, 

J. G. Ballard, 

Nicholas Hawksmoor.

Will self

Thomas de Quincey. 

It's now always a late 1970's Sunday afternoon in the in the days of the contemporary Pest

A mechanical timer prised from a discarded kitchen in a Bruxelles back street, provides an analogue rhythm around which we build today’s program.  Camus provides some words, we tune in to some intercultural networked improvised music from The Ethernet Orchestra, sample a new livestream sound work from Matthew Olden, and all as we gently muse on our world spun upside down on an unfamiliar axis.

7-8PM UTC+01:00 resonancefm.com

Ethernet Orchestra 

is an Internet-based musical ensemble that explores intercultural improvisation through musical performances in located venues and on the web. Founded by trumpeter Roger Mills, the ensemble was formed to address the underrepresentation of the diverse musical cultures in online music making.  The group combines electronic and traditional instruments, including Mongolian moron khuur (horse fiddle) and throat singing, tabla,  Persian tanbur, tar, balaban, and the Japanese shakuhachi, blended with Buchla synthesizer, DX7, Ableton, voice, guitar, trumpet, and sax. 

Oceans between Sound is the second album by Ethernet Orchestra and covers a 4 year period of the groups performances and online jam sessions. It is free to download with artwork and CDR disc prints from the Chilean net label Pueblo Nuevo https://pueblonuevo.cl/catalogo/oceans-between-sound/

The Train Rolls On. Chris Marker's Le Train En Marche (1971)

First the eye, then the cinema, which prints the look….

A stunned episodepost tory election landslide,in which we listen simultaneously,to both the French and English soundtracks,of Chris Marker'sLe Train En Marche,in an attemptperhaps,to revisit,and evenfind a route back to,the utopiandreamsand projectsof both early and latetwentieth century cultural marxism.

The train of revolution. The train of history has not lacked reverse signals and switched points but the biggest mistake one could make was to believe that it had come to a halt.

“If Chris asked you to do something you did it: There was no question”, recalls Marc Karlin in one of his last interviews before his death in 1999.

‘Chris’, needless to say, was Chris Marker, Karlin’s friend who he called ‘le maitre’. The task was to provide an English version of Marker’s recent film Le train en marche (1971) – a celebration of the Soviet era filmmaker Alexander Medvedkin and his mythical ‘kino-poezd’ – a ‘cine train’ re-fitted with cameras, editing tables and processing labs, that travelled the breadth of Russia to make films for and with the workers. Films made on the spot, in collaboration with the local people, (workers in factories, peasants in kolhozs), shot in one, day, processed during the night, edited the following day and screened in front of the very people who had participated to its making… Contrarily to the agit-prop trains which carried official propaganda from the studios to the people, here the people was his own studio. And at the very moment bureaucracy was spreading all over, a film unit could go and produce uncensored material around the country. And it lasted one year (1932)!Medvedkin saw his kino-poezd (294 days on the rails, 24,565m of film projected, 1000km covered) as a means of revolutionising the consciousness of the Soviet Union’s rural dwellers. Marker hoped his recent unearthing would incite similar democratic film-making. In tribute, Karlin and other kindred spirits in London joined Cinema Action.” There was a relationship to the Russians. Vertoz, the man and the movie camera, Medvedkin, and his agitprop Russian train; the idea of celebrating life and revolution on film, and communicating that. Medvedkin had done that by train. SLON and Cinema Action both did it by car. Getting a projector, putting films in the boot, and off you went and showed films – which we did”.

The people were brought the filmmaker’s cinema, in the same way they were brought the artist’s art and the expert’s science. But in the case of this train the cinema was to become something created with contact through the people and was to stimulate them to make their own intervention.

Aleksandr Medvedkin

Performed by humans, Produced by birds.

An international phone conversation, London to Berlin, with Elo Masing representing Berlin based WIG (improvisational trio), and Simon Tyszko in London, discussing the world's first musical transcription produced by birds,Music For Birds  by WIG, and It's genesis within the glamorous and rarefied world of cross species art with avian tandem Kakaduu.Agapornis Fischeri, better known by the artist name Kakaduu, is originally from Central Africa and now based in Berlin, Germany. They established themselves as artists in London, UK, where they lived from 2010 to 2015.

They have been active in the visual arts since 2010 and first gained recognition with the wood veneer and cardboard sculpture “Me and My Home”. Other well-known works include “My Cage” and “My Nightmares About the Cat”.

Kakaduu is one of the most remarkable contemporary practitioners of environmental art in Europe, choosing to use mostly recycled material in creating artworks. They prefer figurative wood sculpture, although often also paint on different materials. Favourite media include wood, wood veneer, cardboard, and coconut shell; for painting they use recycled food.

Better known paintings from the mature period include “Kakaduu Shit on Canvas”, “Kakaduu Shit on Glass”, “Kakaduu Shit on Veneer”, “Kakaduu Shit on Cupboard Door”, “Kakaduu Shit on Porcelain”, “Kakaduu Shit on A4” and “Kakaduu Shit on DVD”. Well-known artworks from the most recent output include “London”, “The Dwarf’s House on the Hill”, “We Went to See the Elephant” and “The Squirrel, the Cat and the Hare”.

Kakaduu’s works have been shown at The First and Second International World Exhibition of Artist Birds.

Kakaduu is represented by Gallery Zebra&Tiger.

New website in progress at www.kakaduu.art. Watch this space!Scientists claim that birds’ and animals’ brains cannot discern complex intellectual objects such as music.‘‘‘ ,

That for them, human music is like white noise, similar to the sound of rain, waves or rustling leaves for us. That they can’t hear anything interesting in it, the same way we can’t understand what birds say to each other, all their adventures and other information they share so vividly.

,             ////7O>’ O>’ O<~ <Ö:::::::::=)’

This may very well be so - if during early development birds’ brains are not exposed to music and don’t learn to grasp it, they probably won’t be able to do it later. Much like a human child who, growing up in the wild without hearing any human language, wouldn’t be able to learn to speak as an adult, even when exposed to human speech.

, ‘ ‘ “

‘(o.

0060000909~.9-8.989

But it seems to us that birds’ brains can be trained to hear music; they can discern very complex intellectual and emotional objects if they’ve been exposed to them from an early age - for example if the birds have grown up in musicians’ homes.

‘, ‘

They become thoroughly unique experts on music, with their own completely unique taste,

Performed by humans, Produced by birds.

An international phone conversation, London to Berlin, with Elo Masing representing Berlin based WIG (improvisational trio), and Simon Tyszko in London, discussing the world's first musical transcription produced by birds,

Music For Birds  by WIG, and It's genesis within the glamorous and rarefied world of cross species art with avian tandem Kakaduu.Agapornis Fischeri, better known by the artist name Kakaduu, is originally from Central Africa and now based in Berlin, Germany. They established themselves as artists in London, UK, where they lived from 2010 to 2015.

They have been active in the visual arts since 2010 and first gained recognition with the wood veneer and cardboard sculpture “Me and My Home”. Other well-known works include “My Cage” and “My Nightmares About the Cat”.

Kakaduu is one of the most remarkable contemporary practitioners of environmental art in Europe, choosing to use mostly recycled material in creating artworks. They prefer figurative wood sculpture, although often also paint on different materials. Favourite media include wood, wood veneer, cardboard, and coconut shell; for painting they use recycled food.

Better known paintings from the mature period include “Kakaduu Shit on Canvas”, “Kakaduu Shit on Glass”, “Kakaduu Shit on Veneer”, “Kakaduu Shit on Cupboard Door”, “Kakaduu Shit on Porcelain”, “Kakaduu Shit on A4” and “Kakaduu Shit on DVD”. Well-known artworks from the most recent output include “London”, “The Dwarf’s House on the Hill”, “We Went to See the Elephant” and “The Squirrel, the Cat and the Hare”.

Kakaduu’s works have been shown at The First and Second International World Exhibition of Artist Birds.

Kakaduu is represented by Gallery Zebra&Tiger.

New website in progress at www.kakaduu.art. Watch this space!Scientists claim that birds’ and animals’ brains cannot discern complex intellectual objects such as music.

‘

‘

‘ ,

That for them, human music is like white noise, similar to the sound of rain, waves or rustling leaves for us. That they can’t hear anything interesting in it, the same way we can’t understand what birds say to each other, all their adventures and other information they share so vividly.

,             ////7

O>’ O>’ O<~ <Ö:::::::::=)’

This may very well be so - if during early development birds’ brains are not exposed to music and don’t learn to grasp it, they probably won’t be able to do it later. Much like a human child who, growing up in the wild without hearing any human language, wouldn’t be able to learn to speak as an adult, even when exposed to human speech.

, ‘ ‘ “

‘(o.

0060000909~.9-8.989

But it seems to us that birds’ brains can be trained to hear music; they can discern very complex intellectual and emotional objects if they’ve been exposed to them from an early age - for example if the birds have grown up in musicians’ homes.

‘, ‘

They become thoroughly unique experts on music, with their own completely unique taste, because their learning and teaching ability in the realm of sonic arts is great. If only someone saw it and knew how to use it.

(i!iiii!!!!!i!¡¡¡

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We’ve been lucky that we’ve come across two of such unique birds,

From Chile to Chatham both haunted and alive.

Some field recordings and ambient sounds from summer 2019.

A zoom recorder balanced just below the pendulum of an ancient yet working grandfather clock in a central room of a venerable Kent House, picks up the steady yet illusory passage of time along with snippets of my extended (Small) family life and conversations. We feature the story of a piano in Chile played by spirits, after stumbling across Julian*s* evocation of those very ghosts on an old detuned upright piano in an apparently lost bedroom, bringing us perhaps to consider the inner life and the meaning of an unprepared piano. after which

Peter Suchin riffs on the semiotics of image via Roland Barthes, and an endless vortex filling of a narrow boat water tank punctuates a summer day on the last pirate island of London (as far as we know), as the clock tic toc tic tocs us along to almost certain extinction, and we wonder how to, or even if to, make art, as time is undeniably running out.

*Julian Burger Visiting Professor at University of Essex, Human rights and indigenous law

One way in to the old kent house



One way in to the old kent house

 

Peter Suchin Explain Art To A Live Cat 2019

John Kenton walks his plank

 

 

*Julian Burger Visiting Professor at University of Essex, Human rights and indigenous law

A Radio impression of VOCALIS, an irregular performance event at the delicious Beaconsfield Gallery Vauxhall London.

VOCALIS places emphasis on giving voice in many forms; sharing ideas, drawing on collective memory and Beaconsfield’s long engagement with text, time-based/live art, performance and sound. Informal and open, Vocalis happens in Beaconsfield’s intimate cafe space - where food and fluids mix with electrical impulses and vocalised concepts.

Michael Curran MC

 

Jeroen van Dooren explores divided subjectivities in the company of performing rabbits

Jefford Horrigan performs a very personal ritual within a bespoke sculptural assemblage that is jealous of painting

Tara Fatehi Irani mishandles an archive from Tehran through photographic images, dance, spoken word and digital media

Liming Lin aspires to be a symbol – that everyone looks up to

Niamh Roberts delivers a love story especially penned for Vocalis.

99.7% scientific consensus

414 parts of CO2 per million, the highest in earths history.

Once in a lifetime weather events every week.

Mass extinction and loss of natural habitat happening now.

Short term profits in place of life as we know it.

We are facing an unprecedented global emergency. Life on Earth is in crisis: scientists agree we have entered a period of abrupt climate breakdown, and we are in the midst of a mass extinction of our own making.

this is not a drill this is not a drill this is not a drill

https://rebellion.earth

Worldwide Rebellion: Continues 7 October 2019

Rebellion too07 October 201919:00 (UTC +01:00)-Until:18 October 201922:00