No Place Like Home was broadcast on Resonance FM from May-Oct. 2006.
I invited people to make a radio programme on the theme of Home.
[
No
Home Like
Place | Richard Youngs ]
Richard Youngs (clock radio alarm)
Recorded 13-15th March 2006
[ At Home | Martin Williams ]
"At home the woman read the words aloud..."
The text of At Home was published here [p.62]
[ Accidental Poem | Rick Moody ]
Rick Moody blends locally recorded sounds with excerpts from the emergency evacuation plan issued by the local nuclear power plant to describe life on Fishers Island, NY.
[ DuDu | Ergo Phizmiz and Martha Moopette ]
Acousmatelectroacoustautomatichydromaticgeothermalimprovhokum.
Composed at the Invention Palace on the Cliff by Ergo Phizmiz & Martha Moopette.
With birds from England, a goat, bells from Russia, a small human, fairy Chewbacca, the Velvet Underground, late nights and headaches, plenty of steam, sea views, cognac, and too many hot dogs.
[ Packed Flat | Martin Spinelli ]
Packed Flat was produced by Martin Spinelli and features Sasha Roberts and Martin Spinelli.
[ Maison.House 1 | Eric la Casa and Jean-Luc Guionnet ]
Jean-Luc Guionnet (saxophone, editing)
Eric La Casa (microphones, mixing, editing)
We did recordings in five different houses, located in four departments of the South of France (Perigord, Ardeche, Drome – North and South). This set of geographical contrasts reinforces our choice of the architectural and spatial variations. Each house thus has its unicity in the field of the landscape and in its of architecture, without forgetting the nature of the owners or the climactic conditions. Voluntarily limited, our time in each house is determined by a process of recording: our goal is to arrive at the listening of interior and exterior space, ie. its measurement. According to the parameters of each site, the saxophone seeks the adequate note. This minimal tonal play tries to define a conjunction/conversation between space and architecture, and the landscape.
[ Home | Rene Mogensen ]
Rene Mogensen (voice, saxophone, editing)
Made at the studio of the Danish Institute for Electroacoustic Music, in Aarhus, Denmark.
[ (No) (Place) (Like) (Home) | Octávio Carmago and Brandon LaBelle ]
Where does a home begin and end? What does it contain, in both its name and borders, and what does it leave out? Working in the city of Curitiba, Brasil our work documents the culture and movements of barrio communities that subsist on an elaborated system of recycling: wielding home-made carts through the city, these unofficial collectors sift through the city’s trash seeking a metal can, a plastic bottle, or other item, which they collect and bring home, to organize according to various criteria, and condense through the use of crushing machines, to deliver to “managers” who in return provide shelter. Visiting their homes, and communities, we spoke, shared, and collected information – sounds, images, information, etc. with the intention to engage the degree to which the city and bodies come to meet, in formal and informal patterns, often producing uneven exchanges in the form of pirate economies, make-shift vehicles, informal architectures, and the language of minor culture. (No) (Place) (Like) (Home) is both a document and a narrative following the movements of collectors during an ordinary day: from morning through to the evening, accentuating the textures and rhythms and actions that come to express their sense of relation to the city.
[ No Place Like Home | Monika Mueller ]
All the different parts in the piece relate to home, whether it's the music recorded at home, or the short essays relating to family, friends and immediate surroundings.
[ Property is Theft | Martin Williams ]
In the aftermath of a house burglary.
[ No Place Like Home | Christopher DeLaurenti ]
Christopher DeLaurenti considers his own notions of Home.
[ Southwark Life | Simon Duff ]
A music and speech work exploring the life of three Senior Citizens living in Southwark.
[ Home Visits | Dallas Simpson ]
A mini-documentary of Dallas Simpson’s visits to his mother Peggy Simpson on 4th June 2006, and his in-laws, the Frost family, Peter & Jane, Eric & Doreen on 21st June 2005. Two very contrasting families, both of retirement age, Peggy in her 90's, living on her own, having lost her husband Harold some 15 yeras ago, totally self sufficient, fiercely independent, mentally sharp and still very physically able even at her advanced age. Peter, in his 80's, had recently returned home following a hospital stay. Suffering a long term illness he is disabled and is totally reliant on his wife Jane, plus friends, neighbours and family for support. Different homes, different challenges, different aspirations, different lives, yet all part of our common humanity.
[ Home is Other People | Wolf ]
Musings on the subject of home from a collection of London's immigrant artists.
[ Fy Mor | Elsa Justel ]
[ 59:55:46 N, 10:42:56 E | a smith ]
[ Vier Uhr Morgens | Maike Zimmermann ]
The air is heavy. I can’t sleep. So I go out to sit on the balcony. I can feel a slight breeze, listen to the birds and hear a bit of thunder in the distance. All mixed with early morning business, like traffic, an alarm clock going off, someone coming home.
[ Shackified | Robert Iolini ]
[ The Hotelroom | Maja Bugge ]
Richard Youngs (clock radio alarm)
Recorded 13-15th March 2006
[ At Home | Martin Williams ]
"At home the woman read the words aloud..."
The text of At Home was published here [p.62]
[ Accidental Poem | Rick Moody ]
Rick Moody blends locally recorded sounds with excerpts from the emergency evacuation plan issued by the local nuclear power plant to describe life on Fishers Island, NY.
[ DuDu | Ergo Phizmiz and Martha Moopette ]
Acousmatelectroacoustautomatichydromaticgeothermalimprovhokum.
Composed at the Invention Palace on the Cliff by Ergo Phizmiz & Martha Moopette.
With birds from England, a goat, bells from Russia, a small human, fairy Chewbacca, the Velvet Underground, late nights and headaches, plenty of steam, sea views, cognac, and too many hot dogs.
[ Packed Flat | Martin Spinelli ]
Packed Flat was produced by Martin Spinelli and features Sasha Roberts and Martin Spinelli.
[ Maison.House 1 | Eric la Casa and Jean-Luc Guionnet ]
Jean-Luc Guionnet (saxophone, editing)
Eric La Casa (microphones, mixing, editing)
We did recordings in five different houses, located in four departments of the South of France (Perigord, Ardeche, Drome – North and South). This set of geographical contrasts reinforces our choice of the architectural and spatial variations. Each house thus has its unicity in the field of the landscape and in its of architecture, without forgetting the nature of the owners or the climactic conditions. Voluntarily limited, our time in each house is determined by a process of recording: our goal is to arrive at the listening of interior and exterior space, ie. its measurement. According to the parameters of each site, the saxophone seeks the adequate note. This minimal tonal play tries to define a conjunction/conversation between space and architecture, and the landscape.
[ Home | Rene Mogensen ]
Rene Mogensen (voice, saxophone, editing)
Made at the studio of the Danish Institute for Electroacoustic Music, in Aarhus, Denmark.
[ (No) (Place) (Like) (Home) | Octávio Carmago and Brandon LaBelle ]
Where does a home begin and end? What does it contain, in both its name and borders, and what does it leave out? Working in the city of Curitiba, Brasil our work documents the culture and movements of barrio communities that subsist on an elaborated system of recycling: wielding home-made carts through the city, these unofficial collectors sift through the city’s trash seeking a metal can, a plastic bottle, or other item, which they collect and bring home, to organize according to various criteria, and condense through the use of crushing machines, to deliver to “managers” who in return provide shelter. Visiting their homes, and communities, we spoke, shared, and collected information – sounds, images, information, etc. with the intention to engage the degree to which the city and bodies come to meet, in formal and informal patterns, often producing uneven exchanges in the form of pirate economies, make-shift vehicles, informal architectures, and the language of minor culture. (No) (Place) (Like) (Home) is both a document and a narrative following the movements of collectors during an ordinary day: from morning through to the evening, accentuating the textures and rhythms and actions that come to express their sense of relation to the city.
[ No Place Like Home | Monika Mueller ]
All the different parts in the piece relate to home, whether it's the music recorded at home, or the short essays relating to family, friends and immediate surroundings.
[ Property is Theft | Martin Williams ]
In the aftermath of a house burglary.
[ No Place Like Home | Christopher DeLaurenti ]
Christopher DeLaurenti considers his own notions of Home.
[ Southwark Life | Simon Duff ]
A music and speech work exploring the life of three Senior Citizens living in Southwark.
[ Home Visits | Dallas Simpson ]
A mini-documentary of Dallas Simpson’s visits to his mother Peggy Simpson on 4th June 2006, and his in-laws, the Frost family, Peter & Jane, Eric & Doreen on 21st June 2005. Two very contrasting families, both of retirement age, Peggy in her 90's, living on her own, having lost her husband Harold some 15 yeras ago, totally self sufficient, fiercely independent, mentally sharp and still very physically able even at her advanced age. Peter, in his 80's, had recently returned home following a hospital stay. Suffering a long term illness he is disabled and is totally reliant on his wife Jane, plus friends, neighbours and family for support. Different homes, different challenges, different aspirations, different lives, yet all part of our common humanity.
[ Home is Other People | Wolf ]
Musings on the subject of home from a collection of London's immigrant artists.
[ Fy Mor | Elsa Justel ]
Sounds
of Home. All mixages were made with the computer. No montage
was done of the different sequences but they were recorded
consecutively. The work is divided into 10 consecutive sections,
involving a character of movement, brightness, rhythm and plenty of
humour. All this is made with the sounds of kitchen tools, and the
mouth. As a matter of fact, it's a real piece of computer-concrete
music. The principal structures are made by granulation of the
different sound
objects. This effect constitutes the basis of a continuous speech, that
is broken consecutively by extended or contracted objects. Basically,
it goes from the very high register to the lower one. The materials
appear and disappear constantly interrupted by new ones. At the same
time, the rhythmic speech is broken abruptly and renewed by elements of
different colours. The form develops elliptic curves between chaotic
sections and classical ones. So, it passes by a 'canon' of spoons,
through a glass interlude, to a 'Brasilian samba' and so on.
[ 59:55:46 N, 10:42:56 E | a smith ]
I
wanted to send some
thoughts about what
you were asking us about. Keep it simple I suppose, but I ended up
going round in circles. In the end, and prompted by your
email, I gave
myself the best part of a day to finish it off and go up on the roof
and record it. If you don’t want to use it
please
don’t feel obliged. If you do, the name of it is 59:55:46 N,
10:42:56 E. The co-ordinates of where we are.
[ Vier Uhr Morgens | Maike Zimmermann ]
The air is heavy. I can’t sleep. So I go out to sit on the balcony. I can feel a slight breeze, listen to the birds and hear a bit of thunder in the distance. All mixed with early morning business, like traffic, an alarm clock going off, someone coming home.
[ Shackified | Robert Iolini ]
Across
Australia, shacks in isolated locations have held a unique place
in the culture. They are often the keepers of secrets, the location for
celebration, symbols of individualism over the state, improvised
architecture, hideouts, places for growing up, and sponges for
nostalgia. As avarism sweeps the coastal fringe, shacks are falling
victim to the national retreat from community to individualism. As we
turn inward, we are concentrating on the 'must have' lifestyle
makeovers of our own backyard. This now includes a piece of the
coastline or 'the shack'. As soon as these are bought they too are
transformed architecturally into the ideal beachside retreat, complete
with fences and power and phone and alarms and no-trespassing signs.
Through this pressure, shack culture is changing and in many places
being lost.
[ The Hotelroom | Maja Bugge ]
In
an
increasingly fragmented world, Maja Bugge is concerned with the kinds
of acoustic fingerprints we leave behind us in visited places, and how
these traces can be used to create new auditive experiences. Maja is a
composer and cellist; by using one specific hotel room, she wishes to
give her audience a different kind of auditive experience, where the
sounds of the room, her cello and the people around her all play an
important role.
[ Alithur Freeman pt.1 | Rene Mogensen ]
What is home after 10 years of civil war? An interview with Alithur Freeman.
[ Alithur Freeman pt.2 | Rene Mogensen ]
What is home after 10 years of civil war? An interview with Alithur Freeman.
[ Alithur Freeman pt.1 | Rene Mogensen ]
What is home after 10 years of civil war? An interview with Alithur Freeman.
[ Alithur Freeman pt.2 | Rene Mogensen ]
What is home after 10 years of civil war? An interview with Alithur Freeman.
