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The First Decade of the Radia Network Knut Aufermann How It All Began

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The First Decade of the Radia Network Knut Aufermann How It All Began The First Decade of the Radia Network Knut Aufermann How It All Began “The Radia Network emerged from a series of meetings, clandestine events, late night club discussions and a lot of email exchanges between cultural radio producers across Europe.”1 This quote from the Radia website suggests that the network was a product of the zeitgeist but leaves the reader without any specific details about the events which lead to its formation. How for example did the radios know of each other’s existence? I can only answer this from the standpoint of Resonance104.4fm in London (hereafter referred to as “Resonance FM”), in which I was involved from its beginnings as a temporary project in 1998 and more fully when it became a permanent fixture in 2002. Resonance FM has its roots in London’s experimental music community and was blissfully unaware of any like-minded stations in Europe until it was approached by Diana McCarty of Reboot.fm in Berlin to come and join their official launch party in early 2004. There I became privy to an already established web of personal contacts between a dozen or so radio stations around Europe. The Reboot.fm inauguration in Berlin was followed by a small European tour of Resonance FM artists, which included a visit to Radio Campus in Brussels where we met Pierre de Jaeger, who would later become the anchor for Radia stations in the Belgian capital. Later on in these travels we came face-to-face with Elisabeth Zimmermann of Kunstradio in Vienna, who had commissioned a radio series from Resonance FM.2 The year 2004 also saw another meeting of radio art practitioners at a two-day conference called RE- INVENTING RADIO at the inspirational Garage Festival in Stralsund. This forward-looking event was hosted by Kunstradio and lead by Heidi Grundmann. After receiving so much hospitality on the continent, Resonance radio artist Sarah Washington organized the “Radio Art Riot” in London in October 2004. “The four-night event brought together radio artists and thinkers from around the world in a studio-as-creative-lab situation which featured round table discussions, live radio art, performances at venues around London and streamed events from other countries. This was the first time that some of the radio stations that would later become Radia worked together—Resonance FM from the U.K., Reboot.fm from Germany, Radio Orange and Kunstradio from Austria, Tilos Radio from Hungary and Radio Cult from Bulgaria.”3 Congratulations, It’s a Network! The opportunity to meet so many like-minded radio practitioners in a relatively short space of time provided the impetus to seek out some kind of formalized cooperation and inspired the next get-together, which took place, again in Berlin, during the transmediale festival in early 2005. Under the auspices of Reboot.fm, members of ten independent European radio stations sat together and discovered that they felt closely related in their work. Whilst discussing what they could offer each other, it became clear that the most commonly available commodity for exchange was airtime. Almost everybody could commit there and then to free up a whole hour per week in their respective schedules for a joint network production—unthinkable in any traditional radio environment. The group quickly settled on the idea that the stations would take turns producing a weekly radio art show that would be broadcast across all stations in the network. “Every round of shows is called a season.” This production cycle, whereby each station invites an artist or group of artists to produce a show for the network, remains the main aspect of cooperation in Radia today. An additional artistic purpose of the network is to accomplish the joint production of ambitious live radio events. Collective live work was also a feature of the first Berlin meeting: a small FM transmitter was used for an impromptu pirate broadcast in the main transmediale venue, the House of World Cultures. First the Show, Then the Name In April 2005 the first syndicated show was aired. It was produced by the Resonance FM program-maker Dan Wilson, who decided to record and arrange experiments with resonating pieces of metal in various states of corrosion. Unfortunately, one of the strong magnets needed for the excitation came too close to the recording laptop and erased the first and almost finished version of Corrosion Suite. Undeterred, Wilson carried on and produced in record time a second version that not only was the network’s first broadcast but also won him the prestigious Arts Foundation Award for electroacoustic composition. At this time, a permanent name for the nascent network had still not been settled upon. The working title of NERA (New European Radio Art) was, after long deliberation, abandoned in favor of Radia, which was deemed at once vague and clear enough to reach agreement by everybody involved. “The name freely refers to La Radia, Futurist manifesto written by Federico Tomaso Marinetti and Pino Masnata in 1933. The network’s founders dropped the La to distance themselves from the Futurists’ political views. As it stands alone, ‘radia’ is simply ‘radio’ or ‘radios’ in some languages.” With hindsight, this choice over NERA has allowed the expansion of the network beyond Europe without having to change its name. Teething Problems The rapid preparation for the first season of programs included building a website4 and learning how to use the Brussels-based open source platform “Radioswap” to share the audio files. Each station had to fulfill its promise to clear an hour in their schedules for the Radia show, and production deadlines needed to be taken seriously since delays affected everybody. Besides these technical problems and solutions for the dissemination of radio works, one question had not yet been thoroughly explored: What do we mean by radio art? The individual responses solicited by the network’s members did not always result in unanimous approval. Most stations started from a blank canvas and transferred the responsibility of answering this question to the artists they recruited to produce a show, providing them only with a minimal briefing. The question of what precisely constitutes radio art continued to be a topic of debate within the network but was never answered successfully. An attempt in 2008 to come up with a definition by instigating a Wikipedia entry for “radio art” eventually ran out of steam due to the disparity of the accrued contributions.5 The Radia Network remains committed to the production of shows as a practical way of exploring the question in further depth. After four seasons it was decided to halve the length of the shows to twenty-eight minutes, so as to reduce the workload on Radia artists who were challenged “to make radio that works all across Europe and beyond.” Remarkably, there was no pressure from the station programmers to vacate precious schedule time: some asked local radio artists to fill the remaining half hour, or they established a repeat slot to preserve their commitment to airing one hour of Radia offerings per week. At the same time, further discussions took place which cemented the norm that contributions should be original productions for the network. Now—ten years, thirty-three seasons, and more than five hundred shows after its inception— Radia can look back on an impressive catalogue of radiophonic experiments: conceptual, funny, multilingual, silent, anarchic, educational, traumatic, fictional, bold, beautiful, and sometimes even positively unlistenable. The Golden Years of Radio Festivals The establishment of the Radia Network was greatly aided by a rapid succession of festivals that showcased the international radio art scene. Additionally, the majority of the founding Radia stations started working together in late 2005 as co-organizers of a project called “radio.territories.” This EU-funded series of interventions in public space, broadcasts, and meetings was led by Radio Orange and culminated in a conference called media-space-society in September 2006 in Vienna. At these gatherings, there was always time set aside for informal meetings to ensure that Radia would be the lasting legacy of the radio.territories project. During the same period, three other radio festivals took place that provided ample ground for consolidation of existing contacts as well as the chance to recruit new stations to the network. These were: Engrenages in Marseille, RadiaLx in Lisbon, and RadioRevolten in Halle. Both Radio Grenouille, the radio station that hosted Engrenages, and Radio Corax, the organizer of RadioRevolten, went on to join Radia a few months after their festivals. RadiaLx in 2006, the first festival in a series of radio art biennials hosted by Radio Zero in Lisbon, reinforced the already familial atmosphere in the network. Here it was suggested that Radia should try to double its membership of ten stations. Later in 2006, the first station outside Europe joined, New York’s free103point9, and the goal of twenty stations was finally reached in early 2011. The members of Radia at the time of writing,6 ordered by date of their first production for the network: 2005 Resonance104.4fm (London, UK) Radio Campus (Brussels, Belgium) Rádio Zero (Lisbon, Portugal) Kanal 103 (Skopje, Macedonia) Reboot.fm (Berlin, Germany) Orange 94.0 (Vienna, Austria) Kunstradio (Vienna, Austria) – non-contributing affiliate 2006 Radio Grenouille (Marseille, France) free103point9 WGXC 90.7-FM (New York, USA) 2007 Radio Panik (Brussels, Belgium) Soundart Radio (Dartington, UK) Radio Corax (Halle, Germany) 2008 Radio X (Frankfurt, Germany) XLAir (Brussels, Belgium) CKUT (Montreal, Canada) 2009 Radio One (Dunedin, New Zealand) CFRC (Kingston, Canada) 2010 Radio Helsinki (Graz, Austria) Radio Papesse (Siena, Italy) Radio WORM (Rotterdam, Netherlands) 2011 Escuela Creativa de Radio TEA FM (Zaragoza, Spain) 2012 Radio Student (Ljubljana, Slovenia) JET FM (Nantes, France) 2013 Radio Nova (Oslo, Norway) 2014 Radio Campus Paris (Paris, France) 2015 Eastside FM (Sydney, Australia) 2016 Kol HaCampus (Tel Aviv, Israel) Almost without exclusion, the radio stations that make up Radia are independent local cultural broadcasters.
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