Cabaret of Complexity, Radio Zero, Lisbon

radio meet cars meet musicians in the garage bellow Maus Habitos, Future Places Festival HQ in Porto, Portugal. Two radio stations, Radio Futura 102.1 MHz and Radio Manobras 91.5MHz provided their frequencies to carry music and chaos into six audio tuned automobiles from the Portuguese xtremetuning.org community. Peter Principle composed a loose composition, grouping cars, musicians on frequency, garage sounds and more musicias. The complex setup worked into two floors of music, performance and radio, where out of sight musicians where channelled into these powerful, personalized, sound system on wheels.

Performance for 2 radio stations, six cars, one composer, and an innumerable number of musicians.

See What I’m Saying by Shelley Hodgson for Soundart Radio, Dartington

Originally I wrote the ‘Chiaroscuro’ piece as a the first part of a series of three texts discussing conversation with this piece looking into what might happen if a conversation of some importance goes awry. I then re-appropriated this same text as a script for radio when working toward my final Masters piece to see how such a piece could ‘work’ on the radio. Using a medium where listeners are used to hearing fresh content everyday, I played this piece for 8 days consecutively at the same time in the hope that the listener would get a sense of what was to come over that time. I then began to experiment with soundscapes such as this particular piece in which I have overlaid different readings on top of each other.

The original piece was recorded by many people to see how the script would be ‘translated’ from the page by each of the performers. When I gave the script to these performers I gave them no indication of ‘how’ to read it the idea being that this freedom would allow for greater input from each of the performers. This is why there can be such a huge discrepancy in terms of length/pace/emotional investment from each of the performers you will hear in this piece.
The fumblings for words, the pauses while each performer reads ahead on screen/page can be difficult to listen to and in this context the silences are intended as an example of the notion of ‘ear-strains’ in spoken word that Steven Connor has spoken of.

Each piece remained unchanged from whichever rudimentary form of recording device/software it was created in until this point in the experimentation process. I have not edited any of these readings I have simply created a ‘chorus’ of voices for this piece so as to bring in questions of ‘hearing voices’ and to hopefully extend the idea of ‘chaos in the mind’ further.

Looking at the state of mind of an individual using technological r