hi!

My practice as a writer has been developing towards audio work, and I have been more and more interested in the medium of radio as a platform for showing my own work, and also in radio’s possible uses as a tool of social empowerment. I am wishing to understand how radio is being used by artists and activists to create spaces that function as community centres, and how radio can be used to facilitate well being for individuals and in localities.
I will need to define what I understand by ‘community’, and also clarify which model of radio I will be studying.

I will be avoiding an ethnographic definition of community, as that is a life times’ work in itself- instead I will work around the ideas and writings of radio and audio artists (Gregory Whitehead, Allen Weiss, Charles Bernstein) and also other writers, artists and activists that offer definitions of community movements that I see Soundart radio as aligning itself alongside (Joan Retallack’s ‘dialogic community’, bell hooks’ ‘communities of resistance’, Felix Guattari’s ‘free radio’ etc.).


Radio for this CEP is a small local public broadcasting venture called Soundart Radio 102.5 FM, which broadcasts under a community license- it is not run for political or commercial gain, it is run by and on behalf of its listening community, and represents both the community of its geographical area, and also radio as a living and historic ‘hot’ media with a international community of listeners, producers, makers and enthusiasts. I will be seeking to understand how Soundart radio fulfils the role of community /ies, and how it serves the desires of said community /ies, and will be reflecting upon and monitoring my own interaction with these ideas as a individual participating, listening and producing, and process this into both audio and writing documentations.

Broadcasting can be considered as a mirror to the way we live, and I am interested in programming and stations that offer alternative and considered options within their scheduling.

Radio art requires a consistent body of research and practice that concentrates on sound at its point of signification, not a literal reading that will collapse into cliché, but a sensitivity to the ways in which meaning in sound circulates, dissipates and re-emerges. The development of an autonomous body of theory and practice regarding aural referentuality- in particular as it relates to radio and electronic media- will contribute to a better understanding of the role that radio art plays in the articulation of social and cultural ideas. (Lander,D. 1994, Radiocastings: musings on radio and art in Radio Rethink



The two community models I will be focusing on are individuals sharing a geographically related relationship within the area of FM reception, and also communities physically distant but still communing /communicating, thorough both FM and Internet radio. I will be looking the social benefits of participation in the arts:

Personal: growth in confidence, creative and transferable skills, social lives are improved through friendships, enjoyment and involvement in the community. In a wider social context: confidence of minority and marginalised groups is gained, promoting social cohesion. There is empowerment of a community to be involved in local affairs, a strengthened commitment to place and an ability to tackle problems. Provides the opportunity to take positive risks, contribute to education and personal and social change (Matarasso, F, 1997: ‘Use or Ornament? Social impact of participation in the arts’ p79-81).



I have secured a practical intern-ship at Soundart radio from September through till December 2010. This community radio station's location, programming and programmers, its geographical area, it's international and local outreach projects and its ethos and manifesto are all relevant to my enquiry.
My particular artistic interest lies with

Transmissions that Publicise the Private, or through an opening of dialogic space create new energy and directions within a social order.

Programming that re-instates the authority of chaos and chance, within the context of a functioning community.

Broadcasting that foregrounds and celebrates ambiguity and individuality, supported by structures of acceptance and value.

Work that transforms attention into action and revitalizes languages’ and radio’s uses in the public sphere.


I intend to immerse myself in the life of this small radio station for my time there.

Audio Outreach #3

script as cut up , readings from texts read in the week-

Uncle Lubin- The Rain Shower
 
The non identical, the qualitatively different; these are social tokens of use value, more respectfully treated as collage, a principle at odds with any total infiltrating formalist construction. Montage embraces a freedom to rove over maximally various stocks of material. And the pull or magnetizing of closure ceases to operate at the overall level; it resists the obviousness of both Image and Identity.
Bruce Andrews, Praxis, p 78, Close Listening

As for young people, although they are crushed by the dominant economic relations which make their position increasingly precarious, and although they are mentally manipulated through the production of a collective, mass-medias subjectivity, they are nonetheless developing their own methods of distancing themselves from normalized subjectivity through singularization. In this respect, the transnational nature of rock-music is extremely significant; it plays the role of a sort of initiatory cult, which confers a cultural pseudo-identity on a considerable mass of young people and allows them to obtain for themselves a bare minimum of existential Territories.
Felix Guattari (1989, France) The Three Ecologies, [English translation,2000, trans Ian Pindar and Paul Sutton] p 23, Continuum, Cornwall

Cugel put his hand to his abdomen to quiet the fretful stirrings of Firx. ‘In the space of so much time, the sun may well have waned. Look!’ He pointed as a black flicker crossed the face of the sun and seemed to leave a momentary crust. ‘Even now it ebbs!’
‘You are over apprehensive,’ stated the elder.  ‘To us who are lords of Smolod, the sun puts forth  a radiance of exquisite colours.,’
‘This may well be true at the moment,’ said Cugel, 'but when the sun goes dark, what then? will you take a equal delight in the gloom and the chill?’
But the elder no longer attended him. Radkuth Vomin had fallen sideways into the mud, and appeared to be dead.
Jack Vance (1972) ,Eyes of the Over World, p 22. Granada Books, Great Britain

And no more  words were needed.There was a rush, a clatter upon the stairs, the bang of a door, and the crisp running of footfalls from the street.
“After all, Watson,” said Holmes, reaching up his hand for his clay pipe, “I am not retained by the police to supply their deficiencies. If Horner were in danger it would be another thing; but this fellow will not appear against him, and the case must collapse. I suppose that I am committing a felony, but it is just possible that I am saving a soul.This fellow will not go wrong again; he is too terribly frightened. Send him to jail now,and you make him a jail bird for life. Besides, it is the season of forgiveness. Chance has put in our way a most singular and whimsical problem, and its solution is its own reward.
Sir Arthur Conan Doyle (1930) The Adventure of the Blue Carbuncle, p257, The Complete Adventures Of Sherlock Holmes, Penguin classics, 1981, Great Britain

Now, even as we perceive the object with our senses, it appears to us in a certain way that in fact has been fabricated by our own conceptualization. But we unquestioningly assent to the veracity of our sense experiences and proceed to build up a structured relationship with the world of our experience that is in fact founded upon erroneous assumptions.
Steven Bachelor (1983), Alone With Others, Grove Press, New York

‘Just on ciggarette’.Remember: it doesn’t exist. Stop seeing that isolated occasion and start looking at it from the point of view of the smoker. You may be envying him, but he doesn’t approve of himself. He envies you. Start observing other smokers. They can be the most powerful boost of all to help you off it. Notice how quickly the cigarette burns, how quickly the smoker has to light up another. Notice particularly that not only is he not aware that he is smoking the cigarette but even the lighting up appears to be automatic. Remember, he is not enjoying it; its just that he cannot enjoy himself without it.
Allen Carr (1989)Allen Carr’s Easy Way To Give Up Smoking p138, Penguin, 2009, 4th Edition

Rationalizations are compensatory in nature. they function as justifications, intended to align psychic structures with social structures , so that what will be allowed to happen is commensurate with one’s desires. -
Lyn Hejinian (2007)The Sad Note in a Poetics of Consciousness, Poetry and Public Language,p 118, Shearsman Books, Exeter


taking council  in detail bares fruit.
Accordingly I follow.
Finding nourishment in each catching up.
To start as one keeps count.
Not to expect, nor to conjure up
not the right one just to sing. Seeking guidance is a release
applies method to heart.
Breaking the skin of that spell.
counting sticks and modelling figs
shaping thought in action-
Caroline Bergvall,
[2005] Fig5,  Fig, Salt Publishing , Cambridge

We only just glimpsed a pattern and its changing before our eyes. Whats most characteristically contemporary at any moment is the least recognisable, least visible, least audible, least intelligible of all that matters. Unitelligabilities of past and present tend to blur into the reassuring and ominous white noise of dailiness. Increasingly ominous, to the degree that they’re persistently ignored.
Four on Cage, Geometries of Attention p176

The Wizard Of OZ

Celebrating expenditure in their song, the poets of protest shake up Conservative narcissism, and break the yokes and ties. They tear the subject from its enslavement, cleave the proper, take the puppet to pieces, cut its strings, disturb and blur the mirrors.
 
and

 
These great destroyers are also great givers of strength, and of forms;through this shaking of the literary ground,those who crack it open pull off amazing effects, glimpses of ways out. How can we hold on to them?It is by moving onwards, beyond the known, that No one and you, dear reader, will hear the textual voice, which still remains to be heard, and which gives to each of us, after all, No one’s name.
Helene Cixous,(1996) First Names of No One,The Helene Cixous Reader, Routledge

the Major role of chance, and change, in our world is precisely why intuition and imagination are so important to a reasoned agency. This is a synergy, not a dictonom. to act at all we have to pick up on so many cues that are not part of what we’re specifically taught to notice.the kind of agency that has a chance of mattering in today’s world can thrive only in a culture of acknowledged complexity, only in contexts of long-range collaborative projects that bring together multiple modes of engagement- intuition, imagination, cognition... The more complex things are, the less certain the outcome but also the more room for play of the mind, for inventing ourselves out of this mess.
Joan Retallack, (2003) the Poetical wager, p23, University of California Press

 
cusps
Jack Vance, (1972) ,Eyes of the Over World, p 22. Granada Books, Great Britain


in other words, you provide
an instance
you are purely animal
sometimes purely plant
but mostly you’re just a
classification, I mean it’s conceivable
but so many documents
would have to be gone through
and dimensions of such variety
taken into account to realize what
you are. that
even if we confined ourselves
to the societies for which
the data are sufficiently full,
accurate, and comparable
among themselves
it could not be “done”
without the aid of machines.
Gunslinger, Edward Dorn, Highbrow Press (1975)

So where ever we turn, there is the same nagging paradox: on the one hand, the continuous development of new techno-scientific means to potentially resolve the dominant ecological issues and reinstate socially useful activities on the surface of the planet, and. on the other hand,the inability of organized social forces and constituted subjective formulations to take hold of these resources in order to make them work-
Felix Guattari,
(1989, France) The Three Ecologies, [English translation,2000, trans Ian Pindar and Paul Sutton] p 23, Continuum, Cornwall

I am here... I am doing this... [W]e are now here... I go on talking... this is a composed talk.... for I am making it... just as I make... a piece of music...How could I.... better tell...what structure... is... than simply to... tell... about this,... this talk... which is... contained...within... a space of time... It makes very little... difference... what I say... or even how I say it...You have just... experienced.... the structure... of this talk
John Cage, Lecture on Nothing

Objects aught not to touch, since they are not alive. You use them,you put them back in place you live among them:they are useful, nothing more. But they touch me,it’s unbearable. I was afraid of entering into contact with them, just as if they were living animals.
Jean Paul Sartre,(1938) Nausea, p 22, Penguin [1963 print], Great Britain

but we fail to recognise certain aspects of the ‘reality’ that appear to us are nothing but figments of our own imagination.In this confusement, a conflict ensues between the world as it is and the world as we believe it to be. And the more that we insist on our own infallibility, the more frustrated we we become as the actual world again and again stubbornly refuses to live up to our expectations. Once we assent to a distorted conception of ourselves, the world, or others,we immediately create a disharmonious situation in which two totally incompatable worlds are unquestionably assumed to be identical.
Stephen Bachelor, Alone With Others, Grove Press,1983, N.Y.

Get it clear in your mind
Allen Carr
(1989)Allen Carr’s Easy Way To Give Up Smoking p138, Penguin, 2009, 4th Edition


What is needed instead are more sensuous anti-mechanical dissolutions, homeopathically penetrating the material to its core. The individual units are not imaginative enough. Beyond a deployment of alienated and disinterested sounds, this calls for a increase in chances for them to intermingle,merge, dissociate (Yet even density of texture by itself can become cloying, n echo chamber effect not unlike”white noise”- as we sometimes hear in crowdedly multi voice performance or on tape. sometimes a more spread out sonic fabric will be more disruptive. The concrete: the sum of determinations.
Bruce Andrews,(1998) Praxis, Close Listening , ed Charles Bernstein,

Its gnawing away at her, I’m sure of that, but slowly, patiently: she gets on top of it, incapable either of consoling herself or of abandoning herself to her unhappiness. she thinks about it a little bit, now and then; she cadges a scrap of it. Especially when she is with people, because they console her and also because it comforts her a little to talk about it in a clam voice, as if she were giving advice. When she is alone in the rooms, I hear her humming to prevent herself form thinking. but she is morose all day long suddenly weary and sullen.
Paul Sartre,Nausea,
This a is red hen, Ladybird Classics (1968)

Linguistically, the author is nothing more than the instance writing, just as I is nothing other than the instance saying I: language knows a ‘subject’, not a ‘person’, and this subject, empty outside of the very enunciation which defines it, suffices to make language’hold together’, suffices, that is to say, exhausts it.
Roland Barthes,(1977) The Death of The Author, p 144.Image-music-text, Fontana Press

Yes that is he,
Jack Vance
(1972) ,Eyes of the Over World, p 22. Granada Books, Great Britain


Oral performances- based on the absorbitiveness of image, story, or personality- are often prone to undercut this remarkable temporal freedom.
Bruce Andrews Praxis, Close Listening