Tag: Pixelache

“fugitive radio-Out Of Office Radio”, one century abc, Titanik Gallery, 22 November 2023.

OOO Radio’s inaugural outside broadcast in front of a sculpture of sculpture of Elias Lönnrot in Helsinki.

fugitive radio made a presentation and live broadcast at “one century abc”, a week-long program of experimental music, installation and performance organised by Äänipäivät at Titanik Gallery, Turku, 21–26 November. After meeting OOO Radio for their inaugural outside broadcast in Helsinki on the weekend, I wanted to present something that echoed their gesture and also connected some of the radio networks/projects that we potentially overlap. Unfortunately, I was hampered by an uncontrollable running nose and a technical glitch rendered the recording near unlistenable. So below is the script.

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fugitive radio-Out Of Office Radio: artradio2radioart
Out of Office Radio (OOO Radio) is a bicycle-mounted mobile radio station based in Helsinki, initiated by artists James Prevett and Samantha Lippett with bespoke speakers and a fabric designed by Timo Vaittinen and additional support from Iiri Poteri. It was launched this month as part of James’ exhibition, “Together With” at Forum Box art space in Helsinki with a focus on “the creation of curious and experimental sound in public space”. It is available online— indeed we are streaming live on it now—and they plan to make the mobile studio a loanable resource, prioritising “participatory approaches to broadcasting and distributing material that would otherwise not have a place on traditional radio stations.”

Some listeners may know that my ongoing project, fugitive radio, was initially proposed to be a “bicycle-mounted radio shack and mobile recording studio” to the Helsinki based media arts association, Pixelache, for their 2021 festival. So my interest was immediately piqued when I stumbled onto OOO Radio a little over a week ago. I reached out to Sam and James via email to offer a contribution and then last Saturday joined them alongside Iiri for their inaugural outside broadcast: an excursion to this sculpture of Elias Lönnrot.

James maintains a series, “Patsastellaan: Parties for Public Sculpture”, for which the artist invites other artists to collaborate on making a new work together, beginning from an existing public sculpture. Arguably these “parties” celebrate historically commissioned monuments, drawing attention to aspects of the built/designed/landscaped environment that are often overlooked; thus together we recall the histories and the contexts in which these sculptures were erected, to examine their details and encourage speculation or fabulation about their (continued or shifting) significance, symbolism and meaning.

[Audio description of the image]

These two people are passerby, I believe strangers to the artists who were intrigued enough to stop by on a wintery Saturday afternoon – can you see snow in the image?

I like how this person in the left is taking a photograph. I wonder if they put it on Instagram? Because that’s what I did, with the caption:

#outsideofficeradio streaming live with Elias Lönnrot. Public sculpture meets social sculpture as outside broadcast @forumbox

So for this performance/presentation, I would like to unpack this caption and this photographic/Instagramatic impulse, responding in turn to OOO Radio—art-radio-to-radioart—as a live (but not outside) broadcast.

Public sculpture
I grew up in Sydney, Australia and I think it was an artist and friend Deborah Kelly who once quipped to me, that if you really want to forget about a popular or political figure, then one sure way to do it is to turn them into a public sculpture that birds will shit on and that everyone would ignore. So, I’m interested in this prospect of public sculpture being a means of externalising or purging someone from the collective conscience. In some ways memorialising them, but also making their sanctioned legacy—literally the ideas and values that such a monument stands for—available for public scrutiny, critique, perhaps vandalism or even iconoclasm. Think of the toppling of statues of slave owners as part of the Black Lives Matter uprisings.

Social sculpture
“Social sculpture”, a term coined by the conceptual artist Jospeh Beuys to develop an understanding of art that encompasses all of society. According to Beuys: “EVERY HUMAN BEING IS AN ARTIST” with the potential to consciously contribute to a “TOTAL ART WORK OF THE FUTURE SOCIAL ORDER.” An entry on Wikipedia suggests that even a mundane task, such as peeling a potato, would contribute to such a TOTAL ART WORK, if undertaken as a conscious act. It reminds me of other traditions that endorse approaching the rituals of daily life into deliberate, intentional and potentially aesthetic actions—such as certain forms of Buddhism or (secular) mindfulness techniques that compel one to be present, attentive and calm.

Outside broadcast
fugitive radio was initiated in 2020 with the aforementioned Pixelache during the first waves of the COVID pandemic. During this time it seemed that everyone was making a podcast, but who was listening? So I began to wonder what it was we were doing. I came to think of these radio experiments as a kind of social phenomena with technology, emphasising the social production that accompanied the production of (experimental/amateur/art) radio.

The Japanese philosopher and performer, Tetsuo Kogawa, coined the term “radioart” (one word), to distinguish the “free play of frequencies” from art on the radio. It’s a notion that fugitive radio is aligned with, alongside open culture movements that emphasise the use and development of free/libre and open source tools and practices of sharing (digital commoning). As such, fugitive radio collaborates with like-minded groups and organisations including: {openradio}, lumbung radio/Station of Commons and πNode on which we are currently broadcasting.

I often describe fugitive radio as “responding to the uptake of radio in contemporary art by producing live, collectively-realised broadcast events.” Sometimes I say it as a vehicle for developing experimental modes of “performance/participatory radio.” During Pixelache Helsinki’s 2021 festival at Oodi Library, fugitive radio produced a regular hour-long outside broadcast over eight consecutive days, exploring formats that included: interviews, conversations and vox pops; Hum Klub; Karaoke Theory; environmental percussion (with artist Suva Das) alongside (augmented) soundscapes and of course glitches and occasional dead air.

Since then fugitive radio has gone on to produce events such as KARA-O-KLINIK, a karaoke therapy clinic (HIAP Suomenlinna, 2022), conceived as a kind of awkward durational sit-com; and NightShift, a live and improvised overnight broadcast and publishing performance/happening at the independent art book shop, Limestone Books, Maastricht and organised in collaboration with London-based artist/publisher Rose Nordin.

Over the last year I found myself emphasising that while fugitive radio has found a niche in contemporary art, it is not a visual arts project.

Radio communities
I think of this presentation of echoing OOO Radio’s inaugural outside broadcast; speaking to their social sculpture in the same way they are speaking to this monument of ….?

I’ve become intrigued by how the notion of “radio” or “broadcasting” frames a discussion. It seems that as soon as you put a microphone in front of a person they begin to perform. Or perhaps people simply perform to the situation. How much of this technology is necessary, especially if no-one is listening? Can we simply “frame” a conversation discursively and call it “radio”? Does anybody need to be listening? “If a radio broadcasts in a forest…” is something Sophea Lerner, one of the co-founders of the independent radio platform { openradio }, once said to me.

Nevertheless, technology is indeed one of fugitive radio’s concerns, emphasising the use of free/libre and open source tools and artist-developed platforms and software. I often describe my interest is in performing these infrastructures. And I would suggest that there is something similar going on in this pictures as James, Sam and Iirie perform—or perform to—the built environment. In doing so they bring others into the artwork understood as expanded sculpture, social practice or indeed social sculpture—as participants, interlocutors or onlookers, drawing attention to the situation by simply contributing their gaze.

Arguably, fugitive radio’s real interest is not so much about community radio, but rather “radio communities”. That is, those who use, develop and maintain alternative networked communication media technologies. I often claim that such radio communities suggest a counter-culture to the “pics-or-it-didn’t-happen” behaviour induced by popular social media platforms, such as Instagram. This might not be a revolutionary “FUTURE SOCIAL ORDER”, but it may nevertheless be emancipatory as people grasp the tools of production, communication and distribution and most importantly co-learn, share and socialise as “radio friends” or comrades.

fugitive frequency, season 2, episode 5: (sonic) postcards from Helsinki

A scene with a giant sculpture of a giraffe in a snowy landscape. Two figures in silhouette stand before a sign and leafless trees sway in the background.

A montage of field recordings, performances and other audio documents collected since August 2020, when fugitive radio began. Recordings include Vallilan vapputanssit Finnish Tango dance in the Vallila neighbourhood for the vappu May Day celebrations; Thomas Moose speaking at Pride Is A Protest in 2021; Pekka Pylkkänena from the musicians union interviewed in 2021; MC Ghepetto at Elements mini-Ball 2022 and Suva Das performing playground equipment at Pixelache Festival #BURN____2021.

Karaoke Theory

Karaoke Theory

I argue that karaoke, the non-professional singing of popular songs as a social practice and entertainment, is a way of engaging with emotions in public and suggests the therapeutic potential of singing popular songs. Pop songs often capture a moment, ‘the feeling’ of an era and are a means of circulating ideas and experiences around the world, across cultures and over generations. By participating in karaoke, people identify with these songs and thus build a temporary sense of community and belonging.

By communally singing pop songs, we share history, thoughts, emotions, but for many there are still significant social inhibitions to overcome. Why is it so difficult to sing in public? How did singing become humiliating? Does karaoke’s performance of emotions betray a vulnerability that somehow carries across privilege; forcing a humility that reminds us of a shared precariousness. As Judith Butler (2009) insists, life is always interdependent.

After a recent voicing event I organised with the artist Suva Das in Helsinki, the filmmaker and performer Roxana Sadvo observed that singing is somewhat taboo in many western cultures, proposing that singing had ‘somehow been civilised out of us.’ All this makes me wonder about cultures who do sing — what do they know that we don’t? What are we missing out on? What is the power of song?

Nisha Ramayya (2019), a scholar of tantric poetics, writes that the Sanskrit the word for voice is vaac. Sanskrit was the ancient language of those born into the highest-caste of India’s tiered society. Amongst other things, young Brahmin boys would learn to recite mantras soon after they could speak; chants or songs capable of revealing higher truths and obtaining special powers. Ramayya claims that many people suspected that ‘speaking’ or language was only a small part of what the voice — vaac — could do, and that they were somehow being suppressed by language. Nevertheless India’s multiple spiritual traditions are evidence that ‘lower-caste’ people developed their own magical songs.

Karaoke Theory is an embodied practice that attempts to address this phenomenon. It attempts to a name a thing that is happening and that I argue goes beyond a mutual appreciation of consumable cultural products. Julian Henriques (2011), a theorist of Jamaican sound system culture notes the difference between listening to music on headphones and being in a dancehall ‘bashment’. In the former you put the music in you, in the latter you are in the sound. With Karaoke Theory, I seek to understand what happens when you put the song into you; allow the words to shape your body, the melody pass through you as you sway to its rhythm. When one becomes a vessel for the song, does it possess you?

Poethical De-Scriptings


‘Poethical De-Scriptings’ broadcast live from Pixelache Helsinki Festival #BURN____2021 outside Oodi central library, Helsinki, 7 June, featuring artist and finance activist Ana Fradique and artist-musician Suva Das.

‘Poethical De-scriptings’ is a term I use to describe a practice of live and improvised verbal narrations for radio broadcast.

In her essay, ‘Toward a Black Feminist Poethics’ (2014), Denise Ferriera da Silva proposes ‘poethics’ as a means of emancipating the ‘Category of Blackness’ from the scientific and historical ways of knowing that produced it, with ‘the ethical mandate of opening up other ways of knowing’ (p. 81). Releasing Blackness from objectification, commodification and the forms of domination that produced slavery, a Black Feminist Poethics elicits a range of possibilities that decolonization demands; not for the betterment of this world, but rather toward ‘the end of the world as we know it’.

‘Scriptings’ is a word coined by the artist Achim Lengerer who is concerned with the political questions of speech and language. It is a conflation of the words ‘script’ and ‘writings’, and is also the name of Lengerer’s publishing and production house in Berlin. ‘Scriptings’ also refers to ‘social scripts’, a term borrowed from behavioural psychology to describe knowledge of how to perform adequately in a given situation. One example is how one gets the attention of a waiter in a restaurant. In some circumstances this can be achieved by establishing eye contact, in others it might be acceptable to call, gesticulate and even whistle. While whistling might be inappropriate in the first scenario, attempting to make eye contact might be insufficient in the latter. So knowing the correct social script is crucial to achieving the desired result, as is performing roles correctly to enable social functioning.

My practice of poethical de-scriptings adopts poethics as an approach to being in the world that enables one to delink from the social scripts that one performs by default. It draws from the ‘alt text’ descriptions that often accompany images online to assist those who are visually impaired. Efforts to address issues of accessibility are inherently political. In this example from screen-based media, written and audio descriptions expose the epistemological violence of (hegemonic) visual cultures.

The term ‘access intimacy’ was conceived by writer and disability justice activist Mia Mingus to name the ‘hard to describe feeling’ and ‘eerie comfort’ that arises when someone ‘gets’ her access needs. Access intimacy is not exclusive to disabled people and Mingus (2011) confides:

There have been relationships that carried emotional, physical and political intimacy, but sorely lacked access intimacy. And there have been relationships where access intimacy has helped to create the conditions out of which emotional, familial and political intimacy could grow.

Mingus urges her readers to adopt ‘Access as a framework’ to address a spectrum of needs of those who are (differently) disadvantaged in an ableist world. Furthermore, she distinguishes access intimacy to ‘obligatory access’ that is ‘stoic’ or perfunctory. She writes:

Sometimes access intimacy doesn’t even mean that everything is 100% accessible. Sometimes it looks like both of you trying to create access as hard as you can with no avail in an ableist world. Sometimes it is someone just sitting and holding your hand while you both stare back at an inaccessible world.

My practice of poethical de-scriptings shifts from literal descriptions of my visible surroundings into self-reflection and speculation. While it might sometimes involve close looking and articulation of details, I work in the haze of representation; my poethical de-scriptings may not be visually accurate, but neither are they fiction. Rather, I seek to be personal and precise about what I am see-feeling-thinking.

I approach radio as a medium that is networked and as an event that can be collectively produced and distributed. Rather than the mass media notion of broadcasting to the world, I pursue radio as a social practice that connects peers, friends and enthusiasts. Rather than shouting out to an unknown audience, my technique is more akin to whispering into a lover’s ear.

Attempting audio descriptions made me acutely aware of the power dynamics inherent in language and that are reinforced in everyday speech acts. I discovered that my efforts to communicate clearly and sensitively were determined, and arguably undermined, by social scripts which inform reflexive speech. Foregrounding these codes emphasised that what is ‘normal’ is designed and that these designs condition, noticeably in the built environment and ‘public sphere’. Indeed, it reveals the prejudices of normativity and how one is positioned relative to authority.

As such, poethical de-scriptings attempts to deconstruct and dismantle these power dynamics through an improvised verbal practice. It makes one acutely aware of how ‘words shape worlds’; how ‘worlding’ is material-discursive and how language is privileged as knowledge. Towards the end of the live broadcast embedded above, the artist Suva demonstrates his hand percussion skills on the ‘Konch’ urban furniture in which I was seated. It is an example of how such a skilled musician can ‘talk with their hands’. This might be phonetic, as Suva mimics the sound of language with percussion. Suva also refers to pre-established cultural codes that might announce an event such as the birth of a child, a wedding or war, emphasising that drumming is not necessarily literal, but also emotive, making using of texture, pattern and abstraction.

Extending out towards non-verbal communication such as humming and drumming, poethical de-scriptings seeks to jailbreak language from the authority it is deployed to uphold and to accentuate other ways of relating in the world.

PIXELACHE HELSINKI FESTIVAL 2021: #BURN____

Pixelache Helsinki Burn 2021

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.

Radio As Method

Kone Foundation Blog: Radio As Method

A short piece published on the Kone Foundation blog.

fugitive radio approaches radio as a network medium. Rather than a one-to-many broadcast model, with the privileged broadcaster sending out a signal to listeners who tune in from different locations, fugitive radio pursues radio as an event that is collectively produced and distributed across networks. ‘By many for many’, or more accurately, by a few with other like-minded enthusiasts. For me such radio is poetic, in this atomised era of pandemic when we are locked-down at home dependent on our devices for the vestiges of physically co-present social life.

More at the Kone Foundation.

Swarm Vs Stack

Sound(ing)Systems Poster

A close friend once described fugitive radio (and when it was initially formulating as Baracca do Sound System) as my ‘teenage-boy-fantasy-sound-system project’, which I went along with until I recently encountered Nik Nowak’s Schizo Sonics at KINDL Berlin.

Indeed, I had initially proposed to build some kind of mobile sound system — ‘a bicycle-mounted radio shack’ — and it may still come to fruition for Pixelache Festival, however fugitive radio seems to drift towards dispersal and the ephemeral, rather than the monumental and antagonistic. I am no stranger to the discourse of sonic weaponry and Nowak’s oeuvre has piqued my interest in the past at CTM. So as someone with an interest in sound system culture, it’s curious that Nowak’s sound sculptures have emerged as a counterpoint to what I now find myself pursuing. Below is a quick comparison of concerns:

Swarm Vs Stack
quotidian technologies at hand / customised industrial technologies
relatively accessible, low barrier to entry / requires access to equipment, skills & some expertise
ephemeral / monumental
guerilla dispersal / centralised soundclash
technology of the (performing) body / the body as driver of the machine

This suggests to me we are dealing with a different politics of space and dialectics when it comes to soundclash. At KINDL Schizo Sonics concerns histories and strategies of Cold War loudspeaker propaganda across a divided Berlin, with contemporaneous post-war sound system cultures in Jamaica acting as ‘the angle between two walls’, to cite A War of Decibels (2021) above. (Interestingly Nowak and his crew point to Hedley Jones, a Jamaican born musician, audio engineer, inventor, writer and trade-unionist who trained as a radar engineer with the British Royal Airforce and served during World War II. When Jones returned to Jamaica he began building amplifiers that were responsive to a much wider frequency range than those readily available, which he later incorporated into sound systems. He is considered one of the most important pioneers of sounds system electronics.) While a soundclash may present a dialectical war of ideologies, I think fugitive radio is concerned with a different politics of space and subjectivation.

Considering dispersed and covert forms of audio performance that I hope to produce in the near future, I was reminded today of discussions during the Onassis AiR School of Infinite Rehearsals: Movement I about how our group might enact different or new relations in the matrices of power we were entangled in as arts workers. Here Federica Bueti alerted us to Tina Campt’s discussion of refusal from her book Listening to Images (2017): ‘creative practices of refusal—nimble and strategic practices that undermine the categories of the dominant.’

I am also reminded again of the Sound Swarm protest performances devised by Grey Filastine that have occurred at numerous UN COP climate conferences, and also of cacerolazo noise protests in which agitators bang on pots and pans.

I am thinking about the ubiquity of blue tooth speakers and how a kind of ‘sonic entity’ might emerge, as political performance and even resistance, from what is at hand and everyday. Another example is the way people use bowls as resonating chambers to amplify the speakers on their mobile phones. For Pixelache Festival I would like to explore these improvised technologies and corporeal gestures further, to develop what I’ve discussed elsewhere as a ‘Choreography of Disobedience’.

Outside Broadcast

Cosmo[s]politan Radiophonic Picnic
Saturday 29/8, 12.00–16.00 (EEST/UTC+3)
Venue: In front of Pixelache office, Kaasutehtaankatu 1/21 Suvilahti (Bldg. 7), 00540 Helsinki

Hallo Helsinki and beyond! This Saturday marks the inaugural ‘official’ broadcast from fugitive-radio.net. We’re celebrating by throwing a ‘radiophonic picnic’. ‘What’s that’, you say? It’s a bit like a ‘teddy bears’ picnic’ for signal surfers, acoustic astronauts, crystal radio cultivators, outside(r) broadcasters and anyone with a penchant for experimental offbeat radio.

There will be an open mic/line, so feel free to bring your set-ups. Also bring snacks, your devices and portable speakers to listen to. If you have a bluetooth JBL we can ‘connect’ for a roaming broadcast or ‘Sound Swarm’.

The event will be streamed live, thanks to Open Radio:
https://play.openradio.in/public/fugitive-radio [web]
https://play.openradio.in:8050/radio.mp3 [media players]

If you would like to beam in from elsewhere, please contact: sumugan@protonmail.com

We will meet in front of Pixelache office at 12.00. Kahvila Katarsis opens at 14.00 if you need refreshments. We might go wandering later, so stay tuned for updates!

Cosmo[s]politan Radiophonic Picnic is initiated by Sumugan Sivanesan, a Berlin-based artist and writer who will be in Helsinki over the coming year to develop ‘Fugitive Radio’ in collaboration with Pixelache and with support from the Kone Foundation.

Radio as a Self-reflexive Medium

Given the recent trend of radio in Contemporary Art I have been thinking about radio as performance and installation. Indeed, I’ve been thinking about how people come together to make radio, rather than listen to it. Juxtaposed to the ‘golden era’ trope of families huddled around the wireless to listen to the latest news of the world or radio play, my emphasis on radio as a social practice concerns how community forms around sound, equipment and the notion of broadcasting (to whom?). For me, this suggests an aspect of ‘gear fetishism’ — I do happen to think that sound equipment can be quite fascinating and obtuse and I enjoy the process of playing such technology as one would a toy or instrument. It reminds of some discussion about the postcolonial deployment of scientific or technical apparatus, the classic example being the turntable in early hip hop, and leads me to think about cultures of pleasure (indeed pleasure activism) and the libidinal qualities of technology and sound. This is arguably most apparent in a kind of commodity fetishism attached to consumer audio gear designed for leisure. I am not immune.

With this in mind, I’ll be hosting a Cosmo[s]politan Radiophonic Picnic in conjunction with Pixelache, Helsinki. I think of it as a ‘teddybears’ picnic’ but for radio lovers and broadcast ‘freques’. I’m hoping to connect with some of the radiophonic community here to share and learn about a diversity of practices, set-ups and approaches; from crystal radios, biosignals, pirate radio, parasite radio, outside(r) broadcasters and more…

Here’s a little (ghetto) blast from the past to whet your ears!