24 Hours of Radio Art 2024 Programming Schedule

CiTR 101.9FM kicks off the 2024 iteration of its 24 Hours of Radio Art programming at 12am on Wednesday, January 17th!

Content has been curated and submissions coordinated by CiTR’s 24 Hours of Radio Art Team. Tune in for new submissions from both current (Chronfused | gak | Nariella) and former CiTR programmers (Dune | Nagarekeri | Sound Is Energy), plus contributions from Peter Courtemanche and Bill Mullan – two of the driving forces behind this annual experimental music, sound research, and noise tradition.

The complete list of CiTR 101.9FM’s 24 Hours of Radio Art 2024 podcasts will be available shortly.

Contact / Feedback / 2025 Submission Requirements: radioart@citr.ca

Now, on with the show!

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Wednesday, 17 January 2024
00h00 – 03h00
Absolute Value of Noise / Anna Friz “Water Line / Estuary Almanac (January)“

A 365 day generative radio piece that follows the rhythms of tidal waters at the river’s edge.

Commissioned for the annual project KONTINUUM by Deutschlandfunk Kultur (Berlin) and Ö1 Kunstradio (Vienna), April 2023 – March 2024.

At the mouth of a river, salt meets sweet water. Tides fluctuate. The river floods and dries with the seasons. The muddy delta shifts position over centuries. At the tideline, life persists. It exists both in and out of the water. A sand spit rises once a day and disappears again. It’s a home for clams, oysters, other molluscs, anemones, sand dollars, shore birds and seals. A rock shelf full of tidal pools is filled with tiny fish, crabs, urchins, starfish, bivalves, and seaweed. Fish swim down the river to the sea and return to spawn. Plants and trees are engulfed or left high and dry. As a consequence of (over)use by modern cities and societies, extractive industries dominate a major river and its ecologies, then atrophy and decay, replaced by new modes of global commerce, tourism, and shipping. As ice packs diminish, the seas warm,. Water levels rise and rain patterns change. The spaces between high and low water become more and more exaggerated. The dynamics of change seesaw across the year, creating dangerous patterns in this time of climate crisis.

Water Line is a generative audio piece that imagines the space between the tides and between the salt and the muddy waters. Depending on the height of the tide, listeners are oriented below or above the surface, from deep sea to thousands of meters in the air. Combining field recordings (acoustic and electro-magnetic) with poetic composition, Water Line works with both documentary and imaginary riverspace, the creatures and organisms that live there, the human and the more-than-human. The dynamics range from the roar of engines and turbines to the very subtle sounds of clams, the scuttle and high pitched hisses of crabs, or the scattering of sand fleas. Environmental sounds meet electronic compositions to express the many perceptions of being above or below water. From the undersea kelp forests and high tide zones across the mud flats and swampy areas; from the industrialized river to nearby rocky coves; the artists incorporate field recordings mixed with imaginings and playful interpretations of the river to craft a composition that oscillates across the day, the month and the year.

The piece is centered on the muddy, shifting delta of the river that is called stal̕əw̓ by Indigenous hən̓q̓əmin̓əm̓-speaking Musqueam people, or stó:lō by Indigenous halq’eméylem speakers, Coast Salish peoples who still inhabit the river valley of what is also known as the Fraser, which winds through the greater metropolitan area of the city of Vancouver. The Fraser’s colonial legacy is one connected to extractivist enterprises such as fur trade, logging and pulp mills, mining, fishing and farming; eventually the suburbs of Vancouver encroached across the river delta displacing farms with houses, parking lots, and an international airport. But the river is still its own, a place that the salmon have defined ecologically in many ways, and currently stó:lō still has the largest salmon run of any river in Canada.

Water Line is not only a generative audio piece unfolding for 365 days with the help of generative software custom-created by Absolute Value of Noise, it is also a piece that accumulates sounds across the year, as the artists continue to record and compose, and as the electronic elements in the piece oscillate between foreground and background. The piece stages fictional confluences of stó:lō with distant rivers, as though a river could receive a transmission or dream of the life of other rivers like the Elbe and the Danube, similarly long waterways with silty deltas spilling out into the sea, such that the compositional accumulation includes the clangor of the port of Hamburg, the boats and canals of the Danube, and the distant delta where the Elbe empties into the North Sea.

By the end of the year, the piece will become Estuary Almanac, a compilation of rivertimes, documented and imagined, with our ears attuned to the waterline. Though the river banks are built more and more concretely, though the waters hold ghosts of the past that the summer drought brings into view, these are vital rivers whose life spans have and will surely outlast empire.

< Playlist / Podcast Now Available >

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Wednesday, 17 January 2024
03h00 – 06h00
Curated By: CiTR 101.9FM 24 Hours Of Radio Art Team

Featuring: Sonologyst | Nagarekeri | Cadlag | Merzbow ‘Live At London’s Cafe OTO’.

< Playlist / Podcast Now Available >

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Wednesday, 17 January 2024
06h00 – 06h30
Chronfused “Recordings From The Department of Musical Transmogrification Hotline“

< Playlist / Podcast Now Available >

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Wednesday, 17 January 2024
06h30 – 07h00
Instant Places “Materia Generativa: Live telematics Instant Places <=> Danza Interactive Digitale Milan”

Instrumentation:

Laura Kavanaugh: modular synthesis, analog electronics, iPad piano, voice
Ian Birse: altered acoustic guitar, modular synthesis, live processing

The piece is the audio portion of a hybrid physical/virtual performance between Instant Places (Vieux Hull, Québec) and Company Blu Dance (Milan, Italy): spontaneously-composed choreography, analog/digital sound, handheld camera, generative visual interventions.

< Playlist / Podcast Now Available >

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Wednesday, 17 January 2024
07h00 – 08h00
“A Mostly Empty Mall” – Organized and Recorded By Randophonic

Roughly one hour long. It started with a long slow walk through a mostly empty and abandoned mall. But it was still officially open, a few businesses in operation, various comings and goings, mostly in the distance. The recording got slowed way down and/or sped up. Various bits got looped, layers added, ghosts unearthed. If you want to get political about it, here’s all this open, empty, air conditioned and/or heated space — why the hell have we got people sleeping on the sidewalks just outside the door?

Randophonic normally airs on CiTR every Saturday night into Sunday morning (11pm – 2am).

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Wednesday, 17 January 2024
08h00 – 10h00
Curated By: CiTR 101.9FM 24 Hours Of Radio Art Team

Since mid-December 2023 improvisors Jesse Budel and Nadene Thériault-Copeland have been exchanging birthday presents for Art in the form of audio recordings of weathered pianos. The improvisations explore the full range of sonorities of the piano – Nadene Thériault-Copeland on the Decomposing Piano installation at the NAISA North Media Arts Centre in South River, Ontario, Canada, and Jesse Budel at the Murray Bridge Piano Sanctuary in South Australia. This collaborative artwork brings together shared interests in Weathered Pianos as well as a musical discourse created from recordings made on location during the Canadian winter and the Australian summer.

Jesse Budel is a composer-performer, sound artist, producer and arts entrepreneur based in South Australia. His works are for diverse media and spaces, ranging from concert works and installations to community and interdisciplinary collaborations. Jesse Budel is the founder and curator of the Murray Bridge Piano Sanctuary, and currently serves as the Secretary for the World Forum for Acoustic Ecology.

Nadene Thériault-Copeland received her Honours B.A. in Music from York University in 1991 where she studied composition with James Tenney and performance with Christina Petrowska-Quilico. Her interest in improv and alternative tunings led her to create the Decomposing Piano exhibit. Nadene is the Executive Director of New Adventures in Sound Art.

Credits:

Performer-Improvisors – Jesse Budel and Nadene Thériault-Copeland
Recording Technician at NAISA – Darren Copeland
Recording Technician at Murray Bridge – Jesse Budel
Mix – Jesse Budel
Photo Credit – Malinda-Ro Jenner

< Playlist / Podcast Now Available >

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Wednesday, 17 January 2024
10h00 – 11h00
Curated By: CiTR 101.9FM 24 Hours Of Radio Art Team

Featuring: The Deep Bleed | Dan Potter | Negativland | Laura Pitkanen | Vittoria Assembri and Gaia Ginevra Giorgi‘s “Poesie per Piante Infestanti, Rane, e Bandite” (“Poems for Weeds, Frogs, and Bandits“)

Undecided fragment of the planetary garden, the Third Landscape is a space that doesn’t express power, nor submission to power. What emerges is a correspondence with poetry. Poetry, like the Third Landscape, is a place of unproductivity, a practice that cannot be capitalized. It deals with the residual, the interstitial, the undecided, the functionless. Institutions are not interested in it and, in this sense, it can be expressed as a “common space of the future”. Feminine plural: Poetry for Weeds, Frogs and Bandites is a sonic trip between soundscape, poetry and architecture. The project was developed during a research residency at Atelier A, in the border area between the Ligurian West and the French Maritime Alps. Three forms of architecture abandoned by humans and reactivated by other species were identified by the artists: a greenhouse, once active for the cultivation of Eucalyptus cinerea, a former irrigation tank and a bunker from the Second World War. The artists decided to read poems to the new inhabitants of these habitats. All the poems are by the poet Gaia Ginevra Giorgi and were recorded on site. Then, through site-specific sound installations, the words were spread throughout the rooms, and the new landscape was re-recorded, over and over.

By Vittoria Assembri and Gaia Ginevra Giorgi / Sound editing by todo modo / With the support of Atelier A

< Playlist / Podcast Now Available >

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Wednesday, 17 January 2024
11h00 – 12h00
“Exploring + Mistakes” – Organized and Recorded By Randophonic

This roughly one hour mix is a rerun (with a few tweaks and improvements) of something that first aired on Art’s Birthday 2023. It is completely concerned with somehow corralling all manner of sidetracks, diversions, explorations, mistakes which originally occurred in and around the production of various Randophonic radio programs. In other words, none of this was done on purpose except some of the final editing and layering together.

Featuring but not limited to:

Guru Guru, Playgroup, African Head Charge, LSD49, Monkees, Bill Nelson, Fred Frith, Negativland, Pink Floyd, Can, George Clinton, Jade Warrior, Severed Heads, Wall of Voodoo, Ethan Hawke, Bill Nighy, Lawrence Welk, Martin Balsam, Walter Matthau, Vanessa Redgrave, Steve Reich, Sly + Robbie, Stevie Wonder, Robert Redford, Leonardo Dicaprio, William Burroughs, Material, Leonard Cohen, Christian Slater, NASA, Embryo, Sun Ra, John Fahey, BBC sound effects archive, Jimi Hendrix, King Crimson, JFK, Gregory Peck, Robert Fripp, FM, Marshall McLuhan, Frank Zappa, James Mason, Robert De Niro, Faust, Agitation Free, Sesame Street, River Phoenix, Aphrodite’s Child, Percy Faith, Firesign Theatre, Peter Green, Johnny Depp, Benicio Del Toro, Daevid Allen, Colin Newman, Rip Rig and Panic, Jean-Michel Jarre, Sean Connery, William Hurt, Muzak Corporation, Stooges, Bill Bruford, Mythos, Hatfield + the North, Steve Hillage, Syrinx, Renaldo and the Loaf, Vangelis, Orchestral Manoeuvres in the Dark, Kraftwerk, George C Scott …

Randophonic normally airs on CiTR every Saturday night into Sunday morning (11pm – 2am).

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Wednesday, 17 January 2024
12h00 – 14h00
gak “shtuchna shpakivnya dlya myrnykh trutniv/an artificial aviary for peaceful drones”

gak’s back with a spacious yet spacy mix that takes elements from synthesized bird noises and mixes it with drones, particular in honour of Catherine Christer Hennix (1948-2023). Sponges & buckets sold separately.

< Playlist / Podcast Now Available >

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Wednesday, 17 January 2024
14h00 – 17h00
Curated By: CiTR 101.9FM 24 Hours Of Radio Art Team

Featuring 24 Hours of Radio Art 2024 submissions from Peace Frequencies Project’s Phil Smith, Pablo Diserens and The Ocean Comm/Uni/Ty, Experimental Modular Radio Collective, Jess Schmidt, Jonathan Jalbert, Ron Coulter, Yan St-Onge and two fantastic sound art compilations – 60 Seconds Each (Corvo Records) and Essays On Radio: Can I Have Two Minutes of Your Time? (Crónica).

< Playlist / Podcast Now Available >

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Wednesday, 17 January 2024
17h00 – 20h00
Curated By: CiTR 101.9FM 24 Hours Of Radio Art Team

< Playlist / Podcast Now Available >

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Wednesday, 17 January 2024
20h00 – 23h00
Absolute Value of Noise / Anna Friz “Water Line / Estuary Almanac (April)”

A 365 day generative radio piece that follows the rhythms of tidal waters at the river’s edge.

< Playlist / Podcast Now Available >

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Wednesda7, 17 January 2024
23h00 – 00h00
LSD49 “Too Many Angles”

Roughly one hour long. This all comes from an in-progress soundtrack project which is itself mainly comprised of material from an archival project on the topic of (one way or another) the free form multimedia performance combo once known as LSD49 (and maybe they still are), who we’re pretty sure, in a less sober timeline have achieved legendary status for their crimes against organization as much as their music and noise and whatever else they conjured sometimes live, sometimes randomly with no plan at all … sometime between the late 1980s and the end of the world, which some are still arguing hasn’t even happened yet.

Chalk it all up to confusion, way too many angles.