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The Voice and the Vehicle: Integrating Live Broadcast Radio Into Automated Live Electronic Works

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The Voice and the Vehicle: Integrating Live Broadcast Radio Into Automated Live Electronic Works The voice and the vehicle Integrating live broadcast radio into automated live electronic works Adam Jansch University of Huddersfield United Kingdom [email protected] http://www.adamjansch.co.uk In: Motje Wolf & Andrew Hill (Eds.) Proceedings of Sound, Sight, Space and Play 2010 Postgraduate Symposium for the Creative Sonic Arts De Montfort University Leicester, United Kingdom, 2-4 June 2010 http://www.mti.dmu.ac.uk/events-conferences/sssp2010/ Abstract The use of live broadcast radio as material in music composition was made promi- nent by John Cage in Imaginary Landscape No. 4 (1951). As a sonic medium which is almost omnipresent, carrying up-to-the-minute information and accessible through widely available demodulation technology, radio has intrinsic features that make its integration into musical works aesthetically and conceptually desirable. As part of my wider research aims – the investigation of distributable open outcome music – I have approached live broadcast radio as a material to integrate into a suite of automated live electronic works. Pieces in this suite include multi-channel electro- acoustic and video works, and a prototype for a distributable hardware-based open outcome pop song. Focussing on radio as voice and as a vehicle the pieces explore a number of creative uses for such material, including environment generation, listen- ing mode modulation and time/locality disruption. The deployment of stations across radio networks emphasising a listener's geographical location, and the radio stream as a perpetually occurring current event will also be discussed, as will technical de- tails and issues regarding the implementations of radio employed in the pieces. In: Motje Wolf & Andrew Hill (Eds.) 47 Proceedings of Sound, Sight, Space and Play 2010 Postgraduate Symposium for the Creative Sonic Arts De Montfort University Leicester, United Kingdom, 2-4 June 2010 http://www.mti.dmu.ac.uk/events-conferences/sssp2010/ Adam Jansch: The voice and the vehicle: Integrating live broadcast radio into automated live electronic works. The voice and the vehicle: inte- generation of pieces could be created to grating live broadcast radio into focus on distributability improvements. automated live electronic works. The ‘Qualities of Radio’ Introduction Early on in the conception and creation of these works I became aware that a ‘Radiophony is a heterogeneous domain, number of conceptually interesting at- on the levels of its apparatus, its practice, its forms, and its utopias.’ tributes became available through the (Weiss 1996, p. 9) use of a live radio stream, and came to the conclusion that these attributes must Broadcast radio has carved out a unique stem from what makes radio unique as identity in the media world, having its an everyday medium. place cemented through a mixture of sonic, social and cultural qualities intrin- The listener’s relationship with radio is sic to its operation. In this article I will complex and occurs on many levels, and explore three automated live electronic these attributes – which I have termed works composed to evaluate the integra- ‘qualities of radio’ and will identify tion of over-air live broadcast radio with through the analyses of the three works fixed audio and video materials. Through that thus far make up this radio suite – this exploration I plan to expose a num- are fundamentally related to this com- ber of the qualities live broadcast radio plexity. These works join a group of oth- can bring to works of this kind, and what ers using radio as dissemination me- problems may be faced in trying to dium or material source, including key 3 achieve a union between such materi- pieces by John Cage , Karlheinz Stock- 4 5 6 als1. hausen , Max Neuhaus , Scanner and those involved in Radio Rethink7. Through these analyses I will also at- Background tempt to elaborate on a concept which I feel applies to how one might codify the The subject of this article originates use of live broadcast radio as material: through a research project I have under- radio as voice and radio as vehicle. taken into the creation of distributable open outcome music2 – music whose sonic outcomes are not fixed and whose The Voice: Synth Radio medium allows for mass-production and distribution. During the development of The first piece under discussion is Synth the project I approached broadcast radio Radio, for eight-speakers, recorded syn- as material, due to its inherent inde- thesizer and speech-based radio. Synth terminacy and ubiquity, and subse- Radio features two distinct material sets quently decided to create a suite of between which a dichotomy is estab- pieces that featured broadcast radio in lished, forcing a clearer view of the at- some way. tributes of both material sets. The details of the technological attrib- Technologically, the heart of Synth utes required for such integration were Radio is a Max/MSP patch acting as a left open, with one objective kept in sequencer controlling the sounding and mind: any real-time control should be spatialisation of the materials. The se- automated so the end result can operate quence held in the patch is fixed, not with the minimum of human intervention, changing between playings. This is also very much like a CD or MP3 player. The true of the synthesizer material, which is pieces’ aesthetic outcomes were priori- played back from pre-recorded sound tised, with the thought that a second files. So into this domain of fixity the live In: Motje Wolf & Andrew Hill (Eds.) 48 Proceedings of Sound, Sight, Space and Play 2010 Postgraduate Symposium for the Creative Sonic Arts De Montfort University Leicester, United Kingdom, 2-4 June 2010 http://www.mti.dmu.ac.uk/events-conferences/sssp2010/ Adam Jansch: The voice and the vehicle: Integrating live broadcast radio into automated live electronic works. radio material is introduced, and this di- provides a form of bounded, or predict- chotomy between materials of different able, indeterminacy. fixity is established. Synth Radio uses this filtering mecha- The very first aspect I would like to focus nism to instantiate a specific effect in on pertains to the perceived grammatical relation to the fixed synthesizer record- tense of such materials. The recording ings. Tuned to a speech-based stream, of sound can be seen to simultaneously the radio material becomes the ‘voice’ of produce an artefact, containing the re- the piece, carrying with it informational corded sound data, and a temporal re- content which is balanced off against the ference which places that recording his- semantically meaningless synthesizer. torically. This reference is experienced Having radio provide this semantically during each subsequent airing of that rich stream through its present-tense recording, thereby providing to the lis- voice is artistically convenient – at a tener a past timeframe into which they stroke the artist has access to a type- can place said recording. bounded indeterminate content stream, and the need for them to provide specific Experienced at broadcast-time radio meaning through that content is dele- , only the does not produce this artefact gated to the stream. reference. It is very ‘now’, arriving at our ears as current event, regardless of Furthermore, this voice stream provides whether its base material was originally suitable material for modulation between recorded. Radio ‘can serve to ground listening modes8, with the ‘semantic’ someone in the present’ (Tacchi 2002, mode taking a central role: as an exam- p. 242), and, ‘even when its program- ple, when the radio stream is featured in mes are pre-recorded, seems to be a a solo capacity at the beginning of the ‘present-tense’ medium, offering experi- piece the audience can’t help but listen ences whose outcome lies in an un- to the stream semantically. After one known future’ (Crisell 1994, p. 9). Radio, minute the synthesizer material replaces then, re-presents any sonic material into that of the radio with a hard cut edit, a the present tense. This temporal disjunc- jarring change for the listening appara- tion between the material sets is one tus, which is profoundly shocking when that Synth Radio seeks to emphasize. experienced. That the radio stream is never the same between performances Crisell’s statement above also serves to is crucial for this use of semantic listen- highlight the special kind of indetermi- ing, as it gives a listener little chance to nacy inherent in radio. The commercial become familiar with the exact speech underpinnings of broadcast radio en- content and approach its listening using lighten us to why this is: radio content a different mode. producers use ‘programme formats’ to ensure that particular radio stations and Being based around radiophonic speech specific radio programmes adhere to Synth Radio also highlights radio’s geo- their intended target audiences’ expecta- graphical localisation, and a convenient tions (Hendy 2000, p. 70). These for- element of automation it provides. See- mats are informed by market research ing as the radio stream is chosen from a and largely dictate the content a radio pool of local radio stations the language station will play and its probable time of received should nearly always be com- airing. Combined with the genre filtering prehensible by the local audience, thus, already instigated by radio stations, ar- in the case of Synth Radio, making port- tists using broadcast radio as material able the listening mode effects within the have a method of determining the type piece9. of material they can access in an inde- terminate manner. In other words radio In: Motje Wolf & Andrew Hill (Eds.) 49 Proceedings of Sound, Sight, Space and Play 2010 Postgraduate Symposium for the Creative Sonic Arts De Montfort University Leicester, United Kingdom, 2-4 June 2010 http://www.mti.dmu.ac.uk/events-conferences/sssp2010/ Adam Jansch: The voice and the vehicle: Integrating live broadcast radio into automated live electronic works.
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