RUB

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The cyclical originates in the cosmic, in nature: days, nights, seasons, the waves and tides of the sea, monthly cycles, etc. The linear would come rather from social practice, therefore from human activity: the monotony of actions and of movements, imposed structures. (Lefebvre 2004, p.8)

Having re-purposing EDM as ‘experimental dance music’, I’m wondering how practices of rhythm abstraction modulate what Lefebvre describes as ‘linear rhythms’. These are structured institutionalised rhythms that one associates with work, transport schedules, school; how one organises time to meet deadlines, juggle commitments and other time-sensitive institutional pressures, with the social also being an institution. These rhythms run concurrently with ‘cyclical rhythms’ such as the setting and rising of the sun and the phases of the moon. Cyclical rhythms can expand out to cosmological proportions, can they also be perceived at the level of particles?

During this time of pandemic and while bracing for a Northern winter, I’ve been thinking to open a room in an online multiuser audio streaming platform; an EDM ‘club’ on SonoBus that is also open to sound clash and other kinds of interventions.

Naming the room ‘RUB’ is a joke of sorts, because it’s not physically possible to do so in such a space. RUB is a club with a no body policy — literally no bodies in the room — but you can take the club to your room and to your body. While this absent-presence might spark braindance-induced sonic fictions, it also emphasises sonic friction, given that physically gathering may be difficult during these times. As a room for deep bass explorations, beat psyence and riddim methodologies, RUB emphasises sound as a haptic sensation, as changes in air pressure vibrate the sensitive organs of our inner ear; sound pressure that scales up with volume.

Scheduling RUB on the night of the new moon, a ‘cyclical rhythm’ according to Lefebvre and the darkest night of the lunar phase cycle, situates a practice of abstracting rhythms within interacting rhythmic categories. Rather than selecting a regular day of the Gregorian calendar (eg the first Tuesday of each month as is fugitive frequency), RUB proposes to modulate the governance of patterns and habits that arise from them. It’s seemingly irregular placement (Wed 6 October, Thur 4 November, Sat 4 December in 2021) is akin to a ‘shifting one’ in music composition, where the stress or the accent of the beat moves (with repetition) over time. Will RUB synergise with or clash against other scheduled events? Will anyone listen? Would anyone intervene? Given that RUB will begin on the first new moon following the Autumn Equinox (22 Sept 2021), it seems fitting that it’s first season should run until the Spring Equinox (20 March 2022). I’m told timing is everything…

fugitive frequency episode 07: La Cabaret

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‘Welcome to La Cabaret, an open invitation to mix politics and pleasure, with the energy of cabarets, queer bars and block parties to celebrate that despite all the struggles, we can make room for joy.’

La Cabaret was a post-porn salon of sorts, curated and hosted by Irina Mutt in in her share apartment in Rastila, East Helsinki. First broadcast live on June five on {openradio}, it features Frau Diamanda, Elina Nissinen, lintulintu, Yes Escobar and Roxana Savdo among other guests.

Hum Klub returns @Pixelache#BURN_____2021

fugitive radio will broadcast Hum Klub today (10 June) from Pixelache Festival #BURN_____2021. We will join with humming artist-in-residence Eero Yli-Vakkuri! Come hum with us at 15.00 EEST. Join on Jam, a simple to use browser-based audio streaming platform. Click ‘join’ after the jump: https://jam.systems/humklub

PIXELACHE HELSINKI FESTIVAL 2021: #BURN____

Pixelache Helsinki Festival 2021 #Burn____, co-directed by artist-organiser Andrew Gryf Paterson and author Laura Gustafsson, takes place this year with limited access in selected spaces inside Oodi Central Library in Helsinki and outside the front canopy of Oodi, as well as online, from the 6th to the 13th of June 2021. The theme of the festival #Burn____, anticipated in late summer 2019, sets the context of the festival contributions, reflecting on mental health, social solidarity and struggle as well as on ecological crisis.

After a year of excessive screen-based meetings, the festival re-adopts one of the oldest media forms at physical distance from another – radio – seems to be the idea of making a festival event with local and international contributors in consideration of mobility and gathering restrictions. With the established experience of hybrid radio, Pixelache brings a localised listening mix of audio works from two open calls, a live radio stream of festival events especially made or adapted for radio, emerging sound artists, podcasts, and interviews with festival artists and contributors. During the festival, the public can interact with a local FM radio broadcasting around Oodi. Bring Your Own Radio (BYOR) to listen, and if you like a blanket or picnic!

fugitive radio is planning a series of live and collectively produced outside broadcasts for Pixelache #Burn. We will meet outside Oodi Central Library from 14.00 everyday of the festival. If you’re curious to make live experimental radio with us bring your smartphone and a pair of wired earbuds. These work as an antenna on your smartphone if it has an FM receiver (look for the app!) Also bring a bluetooth speaker if you have one. After a little warm up, we will begin streaming online between 15.00 and 16.00 each day, thanks to {openradio}. We will also be broadcasting to a limited range around Oodi on 91.4 FM. If you can’t make it to Oodi you could join us remotely — we’re working on a platform! Updates will be posted on fugitive-radio.net and our Telegram channel. Follow us on Insta: fugitive.radio.

fugitive schedule
Sun 06: Roaming Radiophonic Picnic — sites and sounds of the Oodi broadcast zone.
Mon 07: Poethical De-Scriptings
Tue 08: ‘Swings & Ropes’ with Irina Mutt
Wed 09: The Snow Globe Effect: post-vax mental health chit chat with Tania Nathan
Thu 10: Hum Klub
Fri 11: Karaoke
Sat 12: ‘Cacerolazo’ environmental percussion with Suva Das
Sun 13: ‘Democracy Day!’ What do you think?

To participate online please download SonoBus, a free and open source, multi-user audio streaming application. Check back here on Sunday 6 June for details about how to join our room.

La Cabaret

Image credit: ‘Sex-party’ (2006), de Majo-Post-Op.

Saturday June 5, 19:00 – 20:30 CEST (Barcelona, Berlin) 20:00 – 21:30 EEST (Helsinki, Athens)
Streaming on {openradio}

Welcome to La Cabaret, an open invitation to mix politics and pleasure, with the energy of cabarets, queer bars and block parties to celebrate that despite all the struggles, we can make room for joy.

Happening in an apartment in Rastila, East Helsinki, this event will have interventions by post-porn researcher and artist Frau Diamanda, tarot readings by Elina Nissinen, improvised spoken word by guests and music by lintulintu.

La Cabaret invites the audience to join with their browsers and ears to know a little bit more about dissident Iberoamerican post-porn, divination with tarot cards and as Lintu Lunar describes their work, to play and dance with ‘technosexual tunes and non-binary data fantasies’. Opening home doors to anyone curious to join us in this encounter. Because this ‘us’ is about you, too.

Artists and collaborators: Frau Diamanda, Elina Nissinen, lintulintu, Yes Escobar, Irina Mutt, fugitive radio, {openradio} (Sophea Lerner).

Live broadcast Under A Fooled Moon

A recording of the live broadcast of our radiophonic ‘closing ceremony’ for Suva’s exhibition, ‘Untitled’ at Myymälä2, Helsinki.

Participants gathered ‘Under a Fooled Moon’ in the gallery and on SonoBus, a multi-user audio streaming platform, for a live improv session that was streamed on openradio.in Using our voices, Suva guided us through a collective experiment in performing networked radio infrastructure as one would play a musical instrument.

The event was devised in collaboration with Sophea Lerner and Timo Tuhkanen.

‘Under A Fooled Moon’ a Radiophonic Closing Ceremony for Suva ‘Untitled’.

9 May 2021 from 17.00
Myymälä2, Helsinki
SonoBus Private Group: underafooledmoon
openradio.in

fugitive radio is convening a collective radiophonic ritual, gathering ‘Under A Fooled Moon’ for a live improv session led by Suva. Guests are asked to bring FM radio receivers, earbuds, smartphones and bluetooth speakers to open a portal between parallel (sonic) universes; you can join onsite at Myymälä2 gallery and online at the SonoBus Private Group: underafooledmoon. The situation is being devised in collaboration with Sophea Lerner and Timo Tuhkanen.

If you are curious to join online or in the gallery with your smartphone, SonoBus is a multi-user platform for streaming audio. It’s great for jammin’. The app is free to download and is available for a range of operating systems, devices and as an audio plug-in: https://sonobus.net/

The event will be streamed live to https://openradio.in/live

From 30 April until 9 May 2021, the Helsinki-based artist Suva exhibits a large series of watercolour portraits of ‘protagonists’ and instrument-sculptures that will be brought to life during impro-performances at Myymälä2. ‘Untitled’ is supported by Artists at Risk. See the Facebook event for dates and times.

fugitive radio is an artistic-research project initiated by Sumugan Sivanesan to research migrant/anticolonial perspectives and music in the North and pursue radio-as-method. fugitive radio is funded by the Kone Foundation and is being made in collaboration with Pixelache. Live broadcasts are supported by {openradio}.

Hum Klub

Hum Klub is concerned with humming as a preverbal musical form of communication and as the background noise of urban life.

Humming can be approached as a low barrier-to-entry mode of (collective) music-making. It can be (non)-performed absent-mindedly, while doing other things, or as a focused resonant practice — think of the yogic ‘Om’.

Hum Klub also has an interest in humming as the background noise to urban life; the hum of motors, refrigerators, electricity hubs, and other sounds that we are mostly inattentive to, that we have learned to filter out. We might ask how does a hum differ from a buzz?

Hum Klub seeks to explore what happens when we bring these and other notions of humming together. We could make a humming dérive or drift through an urban centre. What kind of psychogeographies might we uncover? It’s not hard to imagine how humming could serve as a means of communication, marking one’s movement within proximity to others. So might humming be a navigation tool, as a means of echolocation? What happens when the humming stops? Does background noise take over or are we left with the ringing in our ears? Where might we find ourselves when humming guides our negotiations of urban space?

Hum KClub will also convene online on ‘jamming’ platforms, such as Jam, Jamulus and SonoBus, to explore low level forms of connectivity. During this time of pandemic, what is it to be in the presence of others without a specific purpose or focus; while doing others things? How might we be together differently, digitally?

What is the history of humming? When did people first hum? One proposal is that humming and other kinds of preverbal vocalisations are vestigial forms of communication inherited from our pre-human ancestors. What might be the evolutionary reason for its persistence? Simply put: why hum? There is some discussion about the role of biosonics in wellbeing and healing, so might humming relieve anxiety? Could humming enhance the regeneration of cells and soft tissue?

Hum Klub takes its cues from the poet and author Christina Hume who founded ‘Center for the Hum’. In an email interview published on Poetry Foundation (2014) she writes:

In the wake of visual aggression, metamorphosis is biological, and so must be recuperation. Our focus on the body routes us through tactile, kinesthetic, and proprioceptive senses. At the Center, we send high frequency vibrations—in the form of a hum too high to hear—to pressurize the tissues of civilian wounds, but the vibrations, more crucially, locate the wound’s own voice in a kind of echolocation. This echo-pulse lets us take back a sonic subjectivity, an identity informed from surround sound instead of frontal optics.

An excerpt from Hume’s recent book Saturation Project (2021) that concerns ‘hum’ can be found at Full Stop.

Suva debuts Time

Suva (Facebook), a dear friend of fugitive-radio, introduced his new self-made instrument, Time, at Myymälä2 on Saturday afternoon, 30 January, to a enthusiastic crowd of fans, friends and supporters.

As described in his notebook, the instrument is made from the frame of a metal fan, long forgotten in his attic, and the frame of a watchtower clock and round wooden objects the artist found at a fleamarket. Working with his hands — binding, stretching and gluing — Suva arrived at this sculptural object-instrument. After incorporating a contact-microphone into the assemblage, ‘Time was born’.

In April–May, Myymälä2 will host an exhibition by Suva and we are planning to collaborate on an event — stay tuned!

Radio Wok Helsinki

Fugitive Radio presented its first live ‘radio fanzine’, Radio Wok Helsinki (initially title Radiowalk Helsinki) for Nepantlas#4, Akademie Schloss Solitude curated by Daphne Dragona. Produced by myself, Sumugan Sivanesan, and Irina Mutt with the support of Sophea Lerner, the fanzine featured the multimedia artist Suva.

Notions of the ‘audio fanzine’ and of ‘performance as publishing’ were initially raised by Irina, which we developed as an experimental processes, circling around the themes of displacement, vulnerability, solidarity and self-defence. We arrived at narrative formats that referenced the printed zine, such as comics, recipes, interviews and a centrefold.

The performance occurred on Schloss Solitude’s video conferencing platform from which an audio stream was broadcast on {openradio}. Those who registered and attended the event online, were privy to extra visual and text elements and were also invited to participate or intervene. (Noone took up the offer, but we understand it could take a while to get familiar with the process!). There was also a discussion afterwards, which was also not part of the radio fanzine.