24 Hours of Radio Art 2024 Programming Schedule

CiTR 101.9FM kicks off the 2024 iteration of its 24 Hours of Radio Art programming at 12am on Wednesday, January 17th!Content has been curated and submissions coordinated by CiTR’s 24 Hours of Radio Art Team. Tune in for new submissions from both current (Chronfused | gak) and former CiTR programmers (Dune | Energy Is Sound |  Nagarekeri), plus contributions from Peter Courtemanche and Bill Mullan - two of the driving forces behind this annual experimental music, sound research, and noise tradition.The complete list of CiTR 101.9FM’s 24 Hours of Radio Art 2024 podcasts will be available shortly.Contact / Feedback / 2025 Submission Requirements: radioart@citr.caNow, on with the show!=============Wednesday, 17 January 202400h00 – 03h00Absolute Value of Noise / Anna Friz "Water Line / Estuary Almanac (January)"A 365 day generative radio piece that follows the rhythms of tidal waters at the river’s edge. by Absolute Value of Noise and Anna Friz © 2023 Commissioned for the annual project KONTINUUM by Deutschlandfunk Kultur (Berlin) and Ö1 Kunstradio (Vienna), April 2023 - March 2024.At the mouth of a river, salt meets sweet water. Tides fluctuate. The river floods and dries with the seasons. The muddy delta shifts position over centuries. At the tideline, life persists. It exists both in and out of the water. A sand spit rises once a day and disappears again. It's a home for clams, oysters, other molluscs, anemones, sand dollars, shore birds and seals. A rock shelf full of tidal pools is filled with tiny fish, crabs, urchins, starfish, bivalves, and seaweed. Fish swim down the river to the sea and return to spawn. Plants and trees are engulfed or left high and dry. As a consequence of (over)use by modern cities and societies, extractive industries dominate a major river and its ecologies, then atrophy and decay, replaced by new modes of global commerce, tourism, and shipping. As ice packs diminish, the seas warm,. Water levels rise and rain patterns change. The spaces between high and low water become more and more exaggerated. The dynamics of change seesaw across the year, creating dangerous patterns in this time of climate crisis.Water Line is a generative audio piece that imagines the space between the tides and between the salt and the muddy waters. Depending on the height of the tide, listeners are oriented below or above the surface, from deep sea to thousands of meters in the air. Combining field recordings (acoustic and electro-magnetic) with poetic composition, Water Line works with both documentary and imaginary riverspace, the creatures and organisms that live there, the human and the more-than-human. The dynamics range from the roar of engines and turbines to the very subtle sounds of clams, the scuttle and high pitched hisses of crabs, or the scattering of sand fleas. Environmental sounds meet electronic compositions to express the many perceptions of being above or below water. From the undersea kelp forests and high tide zones across the mud flats and swampy areas; from the industrialized river to nearby rocky coves; the artists incorporate field recordings mixed with imaginings and playful interpretations of the river to craft a composition that oscillates across the day, the month and the year.The piece is centered on the muddy, shifting delta of the river that is called stal̕əw̓ by indigenous hən̓q̓əmin̓əm̓-speaking Musqueam people, or stó:lō by Indigenous halq’eméylem speakers, Coast Salish peoples who still inhabit the river valley of what is also known as the Fraser, which winds through the greater metropolitan area of the city of Vancouver. The Fraser's colonial legacy is one connected to extractivist enterprises such as fur trade, logging and pulp mills, mining, fishing and farming; eventually the suburbs of Vancouver encroached across the river delta displacing farms with houses, parking lots, and an international airport. But the river is still its own, a place that the salmon have defined ecologically in many ways, and currently stó:lō still has the largest salmon run of any river in Canada.Water Line is not only a generative audio piece unfolding for 365 days with the help of generative software custom-created by Absolute Value of Noise, it is also a piece that accumulates sounds across the year, as the artists continue to record and compose, and as the electronic elements in the piece oscillate between foreground and background. The piece stages fictional confluences of stó:lō with distant rivers, as though a river could receive a transmission or dream of the life of other rivers like the Elbe and the Danube, similarly long waterways with silty deltas spilling out into the sea, such that the compositional accumulation includes the clangor of the port of Hamburg, the boats and canals of the Danube, and the distant delta where the Elbe empties into the North Sea.By the end of the year, the piece will become Estuary Almanac, a compilation of rivertimes, documented and imagined, with our ears attuned to the waterline. Though the river banks are built more and more concretely, though the waters hold ghosts of the past that the summer drought brings into view, these are vital rivers whose life spans have and will surely outlast empire.=============Wednesday, 17 January 202403h00 – 06h00Curated By: CiTR 101.9FM 24 Hours Of Radio Art TeamFeaturing: Sonologyst | Nagarekeri | Cadlag | Merzbow 'Live At London's Cafe OTO'.=============Wednesday, 17 January 202406h00 – 06h30Chronfused "Recordings From The Department of Musical Transmogrification Hotline"=============Wednesday, 17 January 202406h30 – 07h00Instant Places "Materia Generativa: Live telematics Instant Places <=> Danza Interactive Digitale Milan"Instrumentation:Laura Kavanaugh: modular synthesis, analog electronics, iPad piano, voiceIan Birse: altered acoustic guitar, modular synthesis, live processingThe piece is the audio portion of a hybrid physical/virtual performance between Instant Places (Vieux Hull, Québec) and Company Blu Dance (Milan, Italy): spontaneously-composed choreography, analog/digital sound, handheld camera, generative visual interventions.=============Wednesday, 17 January 202407h00 – 08h00Randophonic "A Mostly Empty Mall"Randophonic normally airs on CiTR every Saturday night into Sunday morning (11pm - 2am).=============Wednesday, 17 January 202408h00 – 11h00Curated By: CiTR 101.9FM 24 Hours Of Radio Art TeamFeaturing: Guesswork | Action Pyramid / Jack Greenhalgh | Bob Bellerue / Francisco Meirino | Ben Link Collins | Damian Anache | Applied Silence | Dune | Danbi Jeung.=============Wednesday, 17 January 202411h00 – 12h00Curated By: CiTR 101.9FM 24 Hours Of Radio Art TeamFeaturing: The Deep Bleed | Dan Potter | Negativland | Laura Pitkanen | Vittoria Assembri / Gaia Ginevra Giorgi.=============Wednesday, 17 January 202412h00 – 13h00Randophonic "Exploring + Mistakes"Randophonic normally airs on CiTR every Saturday night into Sunday morning (11pm - 2am).=============Wednesday, 17 January 202413h00 – 15h00gak "shtuchna shpakivnya dlya myrnykh trutniv/an artificial aviary for peaceful drones"gak's back with a spacious yet spacy mix that takes elements from synthesized bird noises and mixes it with drones, particular in honour of Catherine Christer Hennix (1948-2023). Sponges & buckets sold separately.=============Wednesday, 17 January 202415h00 – 18h00Curated By: CiTR 101.9FM 24 Hours Of Radio Art TeamFeaturing 24 Hours of Radio Art 2024 submissions from Peace Frequencies Project's Phil Smith, Pablo Diserens and The Ocean Comm/Uni/Ty, Experimental Modular Radio Collective, Jess Schmidt, Jonathan Jalbert, Ron Coulter, Yan St-Onge and two fantastic sound art compilations - 60 Seconds Each (Corvo Records) and Essays On Radio: Can I Have Two Minutes of Your Time? (Crónica).On deck: David Helbich | Phillip Sollmann | Mattin | Heimo Lattner | Dani Gal | Jorn Ebner | Georg Klein | Luca Forcucci | Gilles Aubry | Michael

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