[.format 2.0][x] [.ra_dio] focuses on format radio and radio formats. [.ra_dio] brings together + dissolves texts, fragments, samples, bleeps, lyrics, signals, voices, jingles, news, noise, silence. it will be in a mixture of both english and german language.
[x] [.ra_dio] is a collage made durable by convex tv. which plays full house with convex tv.’s monthly situation of being cast on an on air frequency that is otherwise shared by the mainstream rock station "star fm" (berlin) and "voice of america" (washington). today, convex tv. bridges the 1 hour on air/ on line gap between both stations by submitting all too willingly to the ideals of format radio.
[x] "it’s not me talking": could it only be by chance that pop lyrics, which were fully aware of their condition of being broadcast on the radio, had their heyday in the 80s and disappeared in the 90s with the emerging net.radio movement? will there ever come a time when pop lyrics will be aware of their condition of being webcast on net.radio? convex tv. believes. there’s a bandwidth playing on the radio...
[x] p.s.: our music beats the best / you just don’t need the rest.
::: Listen :::
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Negativland Announcement Escape from Noise RecRec 1987
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OMD Radio Prague Dazzle Ships Virgin 80s
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Jan Werner + FX Randomiz Experts Slow Gefriem 1992
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"Das Radio berührt die meisten Menschen persönlich, von Mensch zu Mensch, und schafft eine Atmosphäre unausgesprochener Kommunikation zwischen Autor, Sprecher und Hörer. Das ist der unmittelbare Aspekt des Radios. Ein persönliches Erlebnis. Die unterschwelligen Tiefen des Radio sind erfüllt vom Widerhall der Stammeshörner und uralten Trommeln. Das ist dem Wesen dieses Mediums eigen. Das die Macht hat, die Seele und die Gemeinschaft in eine einzige Echokammer zu verwandeln. Dieser Echocharakter des Radios wurde, von wenigen Ausnahmen abgesehen, von den Radioautoren nicht beachtet. Die berühmte Sendung von Orson Welles über die Invasion von Mars war eine klare Demonstration der allumfassenden, totalen Faszination des tönenden Leitbildes im Radio."
(Marshall McLuhan. Die Magischen Kanäle. Understanding Media. Düsseldorf, Wien: Econ 1968, pp.326)
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Kissing The Pink Radio On What Noise Magnet 80s
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„In the last light of the day, looking round anxiously for early hunters they drank hastily at the stream and started the climb up to their caves. They were still a hundred yards from the New Rock when the sound began. It was barely audible, yet it stopped them dead, so that they stood paralysed on the trail with their jaws hanging slackly. A simple, maddening repetitious vibration, it pulsed out from the crystal, and hypnotised all who came within spells. For the first time – and the last, for three million years – the sound of drumming was heard in Africa. The throbbing grew louder, more insistent. Presently the man-apes began to move forward like sleepwalkers towards the source of that compulsive sound. Sometimes they took little dancing steps, as their blood responded to rhythms that their descendants would not create for ages yet. Totally entranced, they gathered round the monolith, forgetting the hardships of the day, the perils of the approaching dusk, and the hunger in their bellies. The drumming became louder and the nighr darker. (…) They could never guess that their minds were being probed, their bodies mapped, their reactions studies, their potentials evaluated."
(Arthur C. Clarke: 2001 - A Space Odyssey. London: Legend 1990, pp.30)
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Joy Division Transmission Substance Factory 1988
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"What did come, with ever-growing intensity, was the roar of Jupiter’s own radio voice. In 1955, just before the dawn of the space age, astronomers had been astonished toxnd that Jupiter was blasting out millions of horsepower on the ten-metre band. It was merely raw noise, associated haloes of charged particles circling the planet like the Van Allen Belts of Earth, but on a far greater scale. Sometimes, during lonely hours on the Control Deck, Bowman would listen to this radiation. He would turn up the gain until the roomxlled with a crackling, sissing roar; out of this background, at irregular intervals, emerged brief whistles and peeps like the cries of demented birds. It was an eerie sound, for it had nothing to do with Man; it was as lonley and meaningless as the murmur of waves on a beach, or the distant crash of thunder beyond the horizon."
(Arthur C. Clarke: 2001 - A Space Odyssey. London: Legend 1990, p.120)
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Alvin Lucier Sferics Sferics Lovely Music 1988
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„The planet Mercury sings like a crystal goblet. It sings all time. (…) It is the tension between the hot hemisphere of day-without-end and the cold hemisphere of night-without-end that makes Mercury sing. (…) The song is a slow one. Mercury will hold a single note in the song for as long as an Earthling millennium. (…) There are creatures in the deep caves of Mercury. The song their planet sings is important to them, for the creatures are nourished by vibrations. (…) In that way, they eat the song of Mercury. (…) They have weak powers of telepathy. The messages they are capable of transmitting and receiving are almost as monotonous as the song of Mercury. They have only two possible messages. The first is an automatic response to the second, and the second is an automatic response to the first. The first is, „Here I am, here I am, here I am." The second is, „So glad you are , so glad you are, so glad you are."
(Kurt Vonnegut: The Sirens of Titan. New York: Laurel 1988, pp.184)
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A Flock Of Seagulls (It’s not me) Talking The Best of A Flock Of Seagulls Jive 1986
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David Sylvian + Holger Czukay Premonition (giant empty iron vessel) Plight + Premonition Virgin 1988
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"Jetzt, als hatten sie eben erst das Grauenhafte ihrer Lage entdeckt, begannen zwei Männer zu schreien. Wie in einem Albtraum sah Hollis einen von ihnen ganz nahe vorbeitreiben, ununterbrochen schreiend. Aufhören!" Der Mann befand sich fast in seiner Reichweite und schrie wahnsinnig. Er würde nie aufhören. Sein Schreien würde noch eine Million Meilen weit zu hören sein, so weit ihre Radiogeräte reichten, und ihnen jedes Gespräch untereinander unmöglich machen." (…) Es war so seltsam grotesk. Weltraum, Tausende von Meilen Weltraum, und in seiner Mitte diese hin und her schwingenden Stimmen. Man sah niemanden, nur die Radiowellen trugen ihre Botschaften von einem zum anderen, versuchten, die Lebensgeister der Männer anzufordern. (…) Die Geistesabwesenheit hatte ihn wieder erfaßt, und er war wie ein Stück gefühlloser Materie, das in alle Ewigkeit nirgendwohinxel."
(Ray Bradbury: Kaleidoskop. In: Der illustrierte Mann. Zürich: Diogenes 1977, pp. 39)
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OMD Radio Waves Dazzle Ships Virgin 80s
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„We drive and turn the radio on: this moved, and yet at the same time stable system now glides within a space of moved sound that is nontheless fixed, provided that no broadcasting interference or shift in frequency reminds us of the brittleness of the relationship. The transmitting area is above and in us, like a sphere that is tendentially of an infinite expansion. Perhaps that is also the source of our dissatisfaction regarding the breakdown of such a connection, however short. It destroys this second space and throw us back to the „now" point of our position."
(Achim Wollscheid: the terrorized term. Frankfurt am Main: Selektion 1996, p.80)
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Roxy Music Oh Yeah The Atlantic Years Amiga 1984
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"Public display requires a display board, in other words, a media system capable of periodically publicizing the rankings, in order to organize a rapid turnover of the objects. Once again, the radio-broadcast network is at the heart of the manipulation, Radio is necessary to the record industry’s success, just as the record industry conditions the profitability of radio. More exactly, the success of a sound network depends on its capacity to sell music objects. (...) A ... function of the hit parade is to create a pseudoevent, in a repetitive world in which nothing happens anymore. We can even go so far as to say that since the emergence of the hit parade, all that radio broadcasts any more is information: on the spectacle of politics in newscasts, on objects in advertisements, and on music in the hit parades."
Jacques Attali: Noise. The Political Economy of Music. Minneapolis: University of Minnesota Press, 1996, p. 108)
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David Sylvian + Holger Czukay Premonition (giant empty iron vessel) Plight + Premonition Virgin 1988
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"all floating calm on tremble-haunted wavelength disco magnified
groove decoders crackle-dance to fuse and pop illusion’s perfume
drumsoft mechanisms endazzlements of rhtythm shimmering system
explode of bassjuice the turntable’s soft horizon spins kaleidadelic
needleburst skullfire mutating beats-per-minute operating heartache
invisible funk the psychedelic angel sucking the sizzle
loading the tongue the little girl whispering lullaby poison
radio tearstain transmission of fragrances lost in the edit
kisses of remix dissolving all ghosts unknown married to the sky"
(Jeff Noon: Pixel Juice. London: Transworld 1998, pp. 77)
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Scanner FM Radiator Spore New Electronica 1995
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Negativland Time Zones Escape from Noise RecRec 1987
"We’ve seen some interesting experiments and opportunities with the us of RealAudio on the Internet, for example. But, more than that, I‘m interested in getting people to think about the larger implications of sound and acoustics. Not as simply a vehicle for communicating information or establishing dialog between farflung actors; and not simply as electronic music, a genre of activity and expression that, however fascinating, is commodified and compartmentalized from our „other" activities and experiences. A broader understanding of acoustic space is what I‘m after: I’m really talking about different dimensions of the kind of subjectivity that we produce in networked environments. The dimension is profound, and we should consider it, work with it, explore it."
(Erik Davis: Acoustic Cyberspace. In: acoustic.space. net.audio issue. Riga 1998, p, 23)
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Pink Floyd Wish You were here Wish you were here EMI 70s
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"At this moment, most audio / sound / radio initiatives are by definition "souvereign media". They are broadcasting for themselves, a tiny group of media fanatics. The fact that nobody is listening is not a free choice (yet) It is actually freedom. The limitations are giving us an opportunity to promote such ideas as "mini FM" and „many-to-many" radio, in order to radically break open and critique all the existing dominant media models. (…) This is conceptual dreamtine. Technology is opening up a wide range of possibilities. State and commerce will soon close them down. The faith of net.radio will be tragic. Massification, standardization, surveillance, copyright blues and al the rest will soon dominate the landscape. It is fairly easy to make these types of analyses and predictions. Too easy. So let’s dream, pump up the volume, put on the streams and rave on, till it is time to move."
(Geert Lovink interviewed by Alex Galloway: Radio Players: A net.radio round table. In: Polygraph 2, 1999, pp.148)
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The Human League W.X.J.L. Tonight Travelogue Virgin 1980
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