Podcasts about ursonate

Episode No. 691 features artists Kota Ezawa and Amy Pleasant.  The Fort Mason Center for Arts & Culture is presenting "Kota Ezawa: Here and There - Now and Then," an investigation into the creation of memory in the Bay Area and nationally, through March 9. The exhibition, organized in collaboration with the San Francisco Museum of Modern Art, features Ezawa and Julian Brave NoiseCat's Alcatraz Is an Idea (2024), and Merzbau 1, 2, 3 (2021), and Ursonate (2022), which were among 11 Ezawas recently acquired by SFMOMA. "Ezawa" was curated by Frank Smigiel. Fort Mason will publish a catalogue on the closing weekend. SFMOMA is showing Ezawa's National Anthem (2018) in "Count Me In"  through April 27. Ezawa's work has been featured in solo exhibitions at many museums, including the Baltimore Museum of Art, the Chrysler Museum of Art, Norfolk, VA; the Buffalo AKG Art Museum; the Vancouver Art Gallery, Canada; and the Saint Louis Art Museum. His work is in the collection most major US art museums, and in museums in seven other countries.  Pleasant is included in "Synchronicities: Intersecting Figuration with Abstraction" at the Bemis Center for Contemporary Arts, Omaha. The exhibition examines some of the ways in which nine artists have recently navigated the space between abstraction and figuration. "Synchronicities" was curated by Rachel Adams, and is on view through May 4. Pleasant's work is also on view at The Carnegie, Covington, KY in "Southern Democratic" through February 15, and in "Vivid: A Fresh Take" at the Hunter Museum of American Art, Chattanooga, TN through June 1.  Pleasant has been included in exhibitions at the Knoxville Museum of Art, the Montgomery (Ala.) Museum of Fine Arts, the Weatherspoon Museum of Art, University of North Carolina, Greensboro, and more.  Instagram: Amy Pleasant, Tyler Green.

What a lovely dance through the career of composer and professor Christopher Butterfield. From his creative space in Victoria, British Columbia, Christopher gives us some important reflections on his relationship performing Schwitters' Ursonate over the last 40+ years. Enjoy the ride!

Jennifer Walshe on the internet's "invisible literatures", as well as new music from the composer, enlisting generative AI to rethink Kurt Schwitters' Ursonate; Tadhg O'Sullivan consults a "black map" in his latest Cloud of Unknowing; and we listen to the cow who likes butter in Sarah Browne's latest work, Buttercup.

Su aceptación para la Historia del Arte es complicada: la arquitectura de museos y salas no está concebida para la experiencia de escucha. Comprende instalación sonora, escultura interactiva, poesía experimental, fonografía, y sobre todo, la prevalencia de la escucha y el sonido sobre el hecho artístico._____Has escuchadoDedicatorias. Infinito Infinity (19/5/2013-10/11/2014) / José Iges. María de Alvear World Edition (2016)El ojo del silencio / José Antonio Sarmiento. [Grabación de la acción e instalación sonora para 100 radio transistores]. Centro de Creación Experimental (2000)Guitar Drag / Christian Marclay. [Banda sonora del vídeo Guitar Drag, 2000. Grabado en San Antonio, Texas, el 18 de noviembre de 1999]. Neon (2006)Irregularity / Homogeneity: Emerging from the Perturbation / Minoru Sato. [Instalación sonora]. Senufo Editions (2012)Magnetic Flights (2007) / Christina Kubisch. [Instalación sonora]. Important Records (2021)Motores / Isidoro Valcárcel Medina. [Obra sonora]. Ediciones sonoras experimentales; Radio Fontana Mix (1973)Small Music. Musik für einen fast leeren Raum / Music for an almost Empty Space (Edition VIII) / Rolf Julius. [Instalación sonora]. Autoedición (1998)_____Selección bibliográficaADEN, Maike (ed.), Disonata: arte en sonido hasta 1980. Museo Nacional Centro de Arte Reina Sofía, 2020ÁLVAREZ-FERNÁNDEZ, Miguel, “Panorama del arte sonoro y la música experimental en la península ibérica”. En: Experimentaclub Limbo: proyecto iberoamericano de intercambio artístico y cooperación cultural. Editado por Jorge Haro y Javier Piñango. Experimentaclub LIMbO (2010), pp. 54-64—, “Sonido, musicología, archivo: tres genealogías (hacia un catálogo de arte sonoro)”. Boletín DM, año 16 (2012), pp. 62-69*ARIZA, Javier, Las imágenes del sonido: una lectura plurisensorial en el arte del siglo XX. Universidad de Castilla-La Mancha, 2003*ASHER, Michael, Writings 1973-1983 on Works 1969-1979. Editado por Benjamin H. D. Buchloh. Press of the Nova Scotia College of Art and Design; The Museum of Contemporary Art, 1983*BARBER, Llorenç y Monserrat Palacios, La mosca tras la oreja. De la música experimental al arte sonoro en España. Fundación Autor, 2009*COSTA, José Manuel (ed.), ARTe SONoro. La Casa Encendida, 2010*CUYÁS, José Díaz, Carmen Pardo y Esteban Pujals (eds.), Encuentros de Pamplona 1972: fin de fiesta del arte experimental. Museo Nacional Centro de Arte Reina Sofía, 2009*DE LA MOTTE-HABER, Helga, Matthias Osterwold y Georg Weckwerth (eds.), Sonambiente Berlin 2006. Kehrer Verlag, 2006DEWEY, Fred et al. Brandon Labelle: Overheard and Interrupted. Les Presses du Réel, 2016*ESPEJO, José Luis (ed.), Escucha, por favor: 13 textos sobre sonido para el arte reciente. Exit Publicaciones, 2019*ESPEJO, José Luis y Óscar Martín (eds.), Ursonate: revista de arte sonoro y culturas aurales (2011-)*ETIENNE, Yvan, Bertrand Gauguet y Matthieu Saladin (eds.), “De l'espace sonore = From Sound Space”. TACET: Sound in the Arts, n.º 3 (2014)FONTÁN DEL JUNCO, Manuel, José Iges y José Luis Maire (eds.), Escuchar con los ojos. Arte sonoro en España, 1961-2016. Fundación Juan March, 2016*GARCÍA FERNÁNDEZ, Isaac Diego, Conversaciones en Nueva York: sobre arte sonoro, música experimental e identidad latina. EdictOràlia, 2020*GRANT, Jane, John Matthias y David Prior (eds.), The Oxford Handbook of Sound Art. Oxford University Press, 2021*HEGARTY, Paul, Noise/Music: A History. Continuum, 2007*—, Rumour and Radiation: Sound in Video Art. Bloomsbury, 2015*IGES, José et al., MASE. Historia y presencia del Arte Sonoro en España. Bandaàparte Editores, 2015*—, “Dimensión sonora de la escritura”. Arte y Parte, n.º 117 (2015), pp. 8-27*—, Conferencias sobre arte sonoro. Árdora Ediciones, 2017*JIMÉNEZ CARMONA, Susana y Carmen Pardo, “Aperturas y derivas del arte sonoro”. Laocoonte: revista de estética y teoría de las artes, n.º 8 (2021), pp. 49-56JOSEPH, Branden W., Beyond the Dream Syndicate: Tony Conrad and the Arts After John Cage. Zone Books, 2008*JOY, Jérôme y Peter Sinclair, Locus Sonus: 10 ans d'expérimentations en art sonore. Le Mot et le Reste, 2015*KAHN, Douglas, Noise Water Meat. A History of Sound in the Arts. The MIT Press, 1999*KELLY, Caleb (ed.), Sound. Documents of Contemporary Art. The MIT Press, 2011*KIM-COHEN, Seth, In the Blink of an Ear: Toward a Non-Cochlear Sonic Art. Continuum, 2009*KOTZ, Liz, Words to Be Looked At. Language in 1960s Art. The MIT Press, 2007*LABELLE, Brandon, Background Noise. Perspectives on Sound Art. Bloomsbury, 2006*—, “Short Circuit: Sound Art and The Museum”. Journal BOL, n.º 6 (2007), pp. 155-175—, Acoustic Territories: Sound Culture and Everyday Life. Continuum, 2010*LABELLE, Brandon y Christof Migone (eds.), Writing Aloud: The Sonics of Language. Errant Bodies Press, 2001*LICHT, Alan, Sound Art: Beyond Music, Between Categories. Rizzoli International Publications, 2007*MADERUELO, Javier, “The Book of i's, de José Luis Castillejo”. Arte y Parte, n.º 108 (2013), pp. 98-115*MAIRE, José Luis, “Documentar el sonido: consideraciones sobre la documentación musical, la música experimental y el arte sonoro”. Boletín DM, año 16 (2012), pp. 73-84*—, “Espacio resonante e instalación sonora: Robert Morris, Michael Asher, Bill Viola, Terry Fox”. Arte y Parte, n.º 117 (2015), pp. 64-85*MOLINA ALARCÓN, Miguel, “El arte sonoro”. Itamar: revista de investigación musical: territorios para el arte, n.º 1 (2008), pp. 213-234*MUNÁRRIZ, Jaime (ed.), Encuentros sonoros: música experimental y arte sonoro. Facultad de Bellas Artes, UCM, 2021*NEUHAUS, Max, Max Neuhaus. Sound Works. Cantz Verlag, 1994*PARDO, Carmen, “Avatares de la ciudad musical”. Quodlibet: Revista de Especialización Musical, n.º 68 (2018), pp. 64-78*ROCHA ITURBIDE, Manuel, “La curaduría, el arte sonoro y la intermedia en México”. Itamar: revista de investigación musical: territorios del arte, n.º 5 (2019), pp. 162-186*SALADIN, Matthieu (ed.), “Sounds of Utopia = Sonorités de l'utopie”. TACET: Sound in the arts, n.º 4 (2015)*SARMIENTO, José Antonio, La música del vinilo. Centro de Creación Experimental de la Universidad de Castilla-La Mancha, 2010*SEIFFARTH, Carsten, Carsten Stabenow y Golo Föllmer (eds.). Sound Exchange: Experimentelle Musikkulturen in Mittelosteuropa = Experimental Music Cultures in Central and Eastern Europe. Pfau, 2012SOLOMOS, Makis, Exploring the Ecologies of Music and Sound: Environmental, Mental and Social Ecologies in Music, Sound Art and Artivisms. Routledge, 2023*TOOP, David, Inflamed Invisible: Collected Writings on Art and Sound, 1976-2018. Goldsmiths Press, 2019*VOEGELIN, Salomé, Listening to Noise and Silence. Towards a Philosophy of Sound Art. Continuum, 2010*WANG, Jing, Half Sound, Half Philosophy: Aesthetics...

In this episode, Friendly Rich speaks with Dutch avant-garde composer and legendary performance artist Jaap Blonk. The talk focuses mostly on Blonk's expertise in performing Kurt Schwitters' seminal 1932 sound poem "Ursonate". Blonk is one of the great masters in performing the Ursonate. We get into it and much more. Enjoy this saunter into the wild mind of Jaap Blonk.

Behrendt, Barbarawww.deutschlandfunk.de, Kultur heute

Laages, Michaelwww.deutschlandfunkkultur.de, Fazit

We get into epic territory very quickly with award-winning poet and scholar, Christian Bök in this delightful episode. Buckle up as we take a dive into Bök's wondrous career, but also begin our deep dive into the work of Kurt Schwitters and his Ursonate. Pure joyful nonsense, just what the doctor ordered!

01 – Kurt Schwitters - Variations of Ursonate com Tomomi Adachi – 2001 – 02 - Tomomi Adachi - Anata 5 04 - Julien Blaine - Quelques poèmes mètaphysiques - com Bass Clarinet de Étienne Brunet05 – Décio Pignatari - noosfera/terra - livio tragtenberg06 – Décio Pignatari – Drácula – Tiago AraripeProdução, gravação, edição e locução: Marcelo BrissacMúsica Drácula usada no prefixo e sufixo, autoria de Marcelo Brissac e Livio Tragtenberg

Listeners: today's episode marks a turning point for us all here at Conspirituality HQ. Humbled by a recent quantum download, we realize that we have for too long been relying on our critical faculties. For too long we have insisted that words mean things. Our poisoned irony has calcified our throat chakras and burned your ears to the point you may never trust a spiritual influencer again. Today we release our addiction to meaning, our fetish for precision in words. We begin to trust the inner babbler of heart-language. We hearken to the oracles, the speakers in tongues, the oompa loompa doompety doos, the glossalalics who trimper the ainions with seedgly refurns. Our hope is that with their help, we can begin to scrize the colong of wolfile stenoses.But we cannot enter this new world of activated communication alone. Our guide today is correspondent Mallory DeMille, who comes to us from the land of TikTok, where Light Language has gone viral, and is making bank, bank, bankity bing bong bank.Show NotesMallory on Instagram | TwitterKundun - Nechung oracle Blonk performs Ursonate with real-time typographySofia for anxiety: Reply to @jennam1127 anxiety reliefSofia: “Removing Darkness”Sofia helping with everyone's kidneysSofia's light language was “opened up” by ayahuascaSofia has her activations turned into tie dye wraps so awesome“Become a Light Language Practitioner” with SofiaSofia provides light language for lonelinessSheryl presents: Light Language LoveSheryl needs you to sit TF downSheryl's waiverLily on how to unlock your light language potentialLily's feeDaniel's gonna get you HIGH-- -- --Support us on PatreonStay in touch with us on Twitter: @derekberes @julianmwalker @matthewremskiOriginal music by EarthRise SoundSystem

Subscribe on Spotify ∙ Stitcher ∙ Apple ∙ Pocket Casts ∙ Google ∙ TuneIn ∙ RSSSatie's Vexations… was Meredith Monk there at the 1963 complete performance? Did she stay there long enough to get the show for free?You never really need an excuse for introducing the Ursonate of Kurt Schwitters into the conversation, but could Monk's vocalising style have anything to do with this?DJ Shadow's 1996 track Midnight in a perfect world is one of the better known uses of a Meredith Monk sampleDeath will come for all of us, sooner or later, but if it speaks to me like this, I might have a hard time resisting…Here's a later interview...and a recent Guardian articleTom also mentions this in the Podcast.Subscribe to Gas Giants This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit gasgiants.substack.com

What exactly is this strange genre called sound poetry? Is it underappreciated and misunderstood? Is it just glorious gobbledygook? “Fümms bö wö tää zää Uu, pögiff, kwii Ee ...” So opens Ursonate by Kurt Schwitters, the 40 minute work of meaningless noise in four movements - considered by many to be the greatest sound poem of all time. A century after it was written, it endures, almost like a classic jazz standard or folk tale that experimental vocal performers feel compelled to learn and interpret as a rite of passage. Jennifer Walshe is one of those daring performers, having recited Ursonate around the world and even “translated” it into Irish. One hundred years on, she wonders what secrets are held within every one of Schwitters' “zee”, “tee” “wee” and “bee” sounds. Jennifer's guests include: Vocalist Elaine Mitchener, who sees the political power of made-up words Linguist Marina Yaguello, who speculates on the original, primeval language of mankind Stand-up comedian Stewart Lee, who reflects on how alternative comedy might owe a debt to Schwitters and the Dada art movement Composer Tomomi Adachi, who harnesses Artificial Intelligence to imagine new languages And poet Jaap Blonk, who remembers Ursonate nearly getting him attacked. Produced by Jack Howson Mixed by Olga Reed Photography by Mike Cameron/Wysing Polyphonic A Reduced Listening production for BBC Radio 4

Neste episódio:01 – Orquesta de Poetas - La muerte es un animal - 2'30''02 – Les Poules - La porte immemse - 2'20''03 – Les poules - D'eau vive – 2'16''04 – Les Poules - Jours lumineux - 1'59''05 – Kurt Schwitters – Presto da Ursonate - 12'19'' Total: 21'24”- Produção, gravação, edição e locução: Marcelo Brissac- Música “Drácula” usada no prefixo e sufixo, autoria de Marcelo Brissac e Livio Tragtenberg

Zaterdag 5 december presenteert scheidend directeur van museum De Lakenhal, Meta Knol, Een goedemorgen met ... Muziek: Levine, Ari & Mars, Bruno; Locked out of Heaven; Wesseltoft, Bugge Clemens non Papa, Jacobus; Ave Maria; Egidius Kwartet Bach, Johann Sebastian; Cantate BWV.82, "Ich habe genug" ; aria, "Ich habe genug"; Kammerorchester Basel; Schröder, Julia; Scholl, Andreas [countertenor] Bach, Johann Sebastian; Matthäuspassion BWV.244 ; Deel II - nr.39, aria, "Erbarme dich"; Wiener Philharmoniker; Gillesberger, Hans; Heynis, Aafje Cummings, E.E.; That Melancholy Wolf, Hugo; Gedichte von Eduard Mörike - nr.23, "Auf ein altes Bild"; Ferrier, Kathleen & Spurr, Phyllis Sjostakovitsj, Dmitri; Concert voor cello en orkest nr.1, op.107 in Es gr.t. - deel III, "Cadenza"; Philadelphia Orchestr; Ormandy, Eugene; Rostropovich, Mstislav Dylan, Bob; Who Knows Where the Time Goes; Simone, Nina Strauss, Richard; Liederen voor zangstem en orkest (4), op.27 nr.4, "Morgen"; Radio Filharmonisch Orkest; Waart, Edo de; Margiono, Charlotte [sopraan] Piazzolla, Astor; Histoire du tango - deel II, "Café 1930" (Arr.); Huijnen, Cécile [viool];Grotenhuis, Marieke [accordeon] Davis, Miles; Flamenco Sketches – Studio Sequence1 Bach, Johann Sebastian; Suite voor klavecimbel BWV.813 in c kl.t., "Franse suite nr.2" - deel I, "Allemande"; Pires, Maria Joao [piano] Bach, Johann Sebastian; Das wohltemperierte Klavier boek 1, BWV.846-869 - "Prelude en fuga nr.10 BWV.855 in e kl.t."; Gould, Glenn [piano] Schwitters, Kurt; Ursonate (1921-31) exerpt # 3 Glass, Philip; Concert voor viool en orkest nr.2, "The American Four Seasons" - "Lied nr.1"; McDuffie, Robert Glazoenov, Aleksandr; De seizoenen, op.67 - deel I, "Winter"; Philharmonia Orchestra; Svetlanov, Yevgeni Schneider, Maria; Walking by Flashlight (the Thompson Fields Version); Maria Schneider Orchestra Schönberg, Arnold; Verklärte Nacht, op.4 - deel III; Chicago Symphony Orchestra; Barenboim, Daniel Honing, Yuri & Brederode, Wolfert; Black is the Colour

Zaterdag 5 december presenteert scheidend directeur van museum De Lakenhal, Meta Knol, Een goedemorgen met ... Muziek: Levine, Ari & Mars, Bruno; Locked out of Heaven; Wesseltoft, Bugge Clemens non Papa, Jacobus; Ave Maria; Egidius Kwartet Bach, Johann Sebastian; Cantate BWV.82, "Ich habe genug" ; aria, "Ich habe genug"; Kammerorchester Basel; Schröder, Julia; Scholl, Andreas [countertenor] Bach, Johann Sebastian; Matthäuspassion BWV.244 ; Deel II - nr.39, aria, "Erbarme dich"; Wiener Philharmoniker; Gillesberger, Hans; Heynis, Aafje Cummings, E.E.; That Melancholy Wolf, Hugo; Gedichte von Eduard Mörike - nr.23, "Auf ein altes Bild"; Ferrier, Kathleen & Spurr, Phyllis Sjostakovitsj, Dmitri; Concert voor cello en orkest nr.1, op.107 in Es gr.t. - deel III, "Cadenza"; Philadelphia Orchestr; Ormandy, Eugene; Rostropovich, Mstislav Dylan, Bob; Who Knows Where the Time Goes; Simone, Nina Strauss, Richard; Liederen voor zangstem en orkest (4), op.27 nr.4, "Morgen"; Radio Filharmonisch Orkest; Waart, Edo de; Margiono, Charlotte [sopraan] Piazzolla, Astor; Histoire du tango - deel II, "Café 1930" (Arr.); Huijnen, Cécile [viool];Grotenhuis, Marieke [accordeon] Davis, Miles; Flamenco Sketches – Studio Sequence1 Bach, Johann Sebastian; Suite voor klavecimbel BWV.813 in c kl.t., "Franse suite nr.2" - deel I, "Allemande"; Pires, Maria Joao [piano] Bach, Johann Sebastian; Das wohltemperierte Klavier boek 1, BWV.846-869 - "Prelude en fuga nr.10 BWV.855 in e kl.t."; Gould, Glenn [piano] Schwitters, Kurt; Ursonate (1921-31) exerpt # 3 Glass, Philip; Concert voor viool en orkest nr.2, "The American Four Seasons" - "Lied nr.1"; McDuffie, Robert Glazoenov, Aleksandr; De seizoenen, op.67 - deel I, "Winter"; Philharmonia Orchestra; Svetlanov, Yevgeni Schneider, Maria; Walking by Flashlight (the Thompson Fields Version); Maria Schneider Orchestra Schönberg, Arnold; Verklärte Nacht, op.4 - deel III; Chicago Symphony Orchestra; Barenboim, Daniel Honing, Yuri & Brederode, Wolfert; Black is the Colour

Das SWR2 lesenswert Magazin präsentiert einige frühe Highlights des literarischen Herbstes:  Elena Ferrante hat ihren ersten großen Roman nach der erfolgreichen Neapolitanischen Saga auf Deutsch veröffentlicht: "Das lügenhafte Leben der Erwachsenen" erzählt von eben diesem - und von einem seltsamen Armband. Wir haben Dany Laferrieres Roman "Ich bin ein japanischer Schriftsteller" zum Buch der Woche erklärt und bejubeln Paul Maars Jugendautobiographie, in der erklärt wird, warum das Sams mit seinen Wunschpunkten dringend nötig war. Außerdem besprechen wir Ulrike Draesners Buch "Schwitters" über den Erfinder der großen dadaistischen Ursonate und des großen Liebesgedichts "An Anna Blume". Und wir gratulieren Helge Schneider zum 65. Zu Beginn der Sendung sprechen wir mit unserer Moskau-Korrespondentin über den aktuellen Fall der belarussischen Nobelpreisträgerin Svetlana Alexijewitsch.  Paul Maar - Wie alles kamS. Fischer VerlagISBN: 978-3-10-397038-8 304 Seiten22 EuroRezension von Anja HöferDany Laferrière - Ich bin ein japanischer Schriftsteller Aus dem Französischen von Beate Thill Wunderhorn Verlag ISBN: 978-3884236284 200 Seiten22 EuroRezension von Nora KarchesElena Ferrante - Das lügenhafte Leben der ErwachsenenAus dem Italienischen von Karin KriegerSuhrkamp VerlagISBN: 978-3-518-42952-5 415 Seiten24 EuroGespräch mit Anja BrockertHelge Schneider macht seine eigene GeburtstagspartyWir gratulieren Helge SchneiderUlrike Draesner - SchwittersPenguin VerlagISBN: 978-3-328-60126-5480 Seiten25 EuroRezension von Beate Tröger Literaturnobelpreisträgerin Svetlana Alexijewitsch und ihre Rolle in Belarus Gespräch mit dem ARD-Studio MoskauJürgen Hosemann - Das Meer am 31. AugustBerenberg VerlagISBN 978-3-946334-82-8112 Seiten18 Euro Persönliche Buchempfehlung von Alexander Wasner

"Ursonate" by Kurt Schwitters read by a computer (from Pavel Büchler, Studio Schwitters, 2010)excerpt. "Ursonate" was first performed by Kurt Schwitters in 1933. A transcript can be found at http://www.merzmail.net/ursonatepdf.pdf More information from this project by Pavel Büchler can be found at https://www.artnews.com/art-in-america/aia-reviews/pavel-buchler-60786/

Rakete bee bee, grouseketeers. Sorry it's taken me a week to post this. Show is also 30 minutes shorter than usual because of punctuality issues. Probably for the best. Mostly jazz, international sounds, and a little bit of easy listening. Enjoy yourself, if you survive the first ten minutes. Rakete bee zee. Download | Podcast Bold text indicates relatively new releases (including reissues and comps). Jaap Blonk - "Presto" (from Kurt Schwitters' Ursonate) Roy Campbell, Joe McPhee, William Parker, Warren Smith - "Music Is the Healing Force of the Universe" (from Tribute to Albert Ayler - Live at The Dynamo) Creative Construction Company - "Muhal (Part I)" (from Creative Construction Company) Richard Landry - Last Track (from Solos) Mammane Sani - "Lamru" (from La Musique Electronique du Niger) Fatimah Al-Zaelaeyah - "Ya Mun Dakhal Bahr Al-Hawa (Hey, Who Enters the Sea of Passion?)" (from Qat, Coffee & Qambus: Raw 45s from Yemen) Mas Sujud - "Dangdut Medley" (from Street Musicians of Yogyakarta) Ergo Phizmiz - "Jews Harp Mambo" (from Phuj Factory) Jackie Davis - "Manana (Is Soon Enough for Me)" (from Ultra-Lounge Vol 2: Mambo Fever) Mona Baptiste - "Calypso Blues" (from London Is The Place For Me 2: Calypso & Kwela, Highlife & Jazz From Young Black London) Percy Faith - "The Bandit (Theme from O Cangaceiro)" (from Aquarela Do Brasil) The playlist and podcast are so much easier to make when Grouse keeps his trap shut. Ike Bennett & the Crystalites - "Illya Kuryakin" (from Trojan Rocksteady Box Set)

Dois senhores assustadores! A organização do Megalofone deseja-lhe uma boa experiência auditiva. E provavelmente faremos o adeus. Obrigado por contribuírem para uma Tarde Bem Passada. Excerto da peça Ursonate, de Kurt Schwitters, interpretada pelo Ensemble JER. Direcção e arranjo musical do professor José Eduardo Rocha. O Ensemble JER é composto por vários alunos da ESAD.CR cujo nome desconheço. Peço desculpa. O Pecado Original ou A Ciência do Bem e do Mal, de Daniil Harms Interpretado por Ana Reis, César Ribeiro, Guilherme Sancho e Tiago Maduro Gravado no quarto de Zé Quintino Instruções para Chorar, de Julio Cortazar Interpretado por Ana Reis

Online 24 hours each day 1 – 31 March, avfestival.co.uk / thepixelpalace.org - Radio Boredcast is a 744-hour continuous online radio project, curated by artist Vicki Bennett (People Like Us)