CURATED BY Emmanuel Madan
BROADCASTING free103point9 Online Radio, New York
In collaboration with Paved Art

Four sound artists are each invited to create an unchanging radio broadcast. Reacting to a radio culture which accustoms us to the division of time into a grid of discontinuous slices, “Simulcast 1.0b : Saskatoon” proposes to renew radio’s link with eternity. It asks four artists to provide a sound, only one sound, which broadcasts continuously and unchangingly for a period of between six and ten hours each night on www.free103point9.org.

“Simulcast 1.0b : Saskatoon” is curated by Montreal-based sound artist Emmanuel Madan, at the initiative of the Saskatoon media arts production centre Paved Arts. The webcasts are hosted by free103point9, a New York-based nonprofit arts organization devoted to Transmission Arts. Webcast nightly on free103point9 Online Radio on April 1 – 28 2008. http://www.free103point9.org/events/1911
Martine H. Crispo (Montréal) “Danby;” April 1 to 7, midnight to sunrise.
“Danby” is a broadcast composed of a single sound that is the most pervasive in our interior environments: 60 Hz. The frequency 60 Hz is the soundtrack to the electrical currents that power our radios, our appliances, our light. Yet, it is a soundtrack so prevalent in our everyday lives that only at night in the absence of noise do we realize that silence is continually filtered through the buzz and hum of electricity. “Danby” transmits an unchanging loop of the 60 Hz recorded from an everyday household object. By juxtaposing this constant frequency with the 60 Hz that is no doubt also present in listeners’ homes, “Danby” creates unpredictable variations and harmonies – a spontaneous simulcast of the singular sound that infiltrates our lives.

GX Jupitter-Larsen (Los Angeles) “Big Time Crash Bang 2008;” April 7 to 14, sunset to sunrise. “In the 1980’s, whenever I wanted to create an all-night broadcast using only a single sound, I would take a long tape-loop and play it through multiple playback heads. This technique always provided a seamless sound sculpture. For “Simulcast 1.0b : Saskatoon,” I did something different. Instead of using analog based repetition, I took a short recording of 40 seconds and digitally stretched it into a single ten hour long wave form. The original recording was that of an auto accident, which is a favourite sound source of mine. The resulting effect is very much like ceaseless grinding. Which also happens to be a favourite of mine,” wrote Jupitter-Larsen.

Magali Babin (Montréal) “7 nuits sous le Westinghouse;” April 15 to 21, midnight to 6:36 a.m. “This piece is a recording of seven consecutive nights, each lasting 6 hours, 36 minutes. Two microphones are placed under a ceiling fan on the second floor of a central room in my house. Under the fan hangs a mobile composed of photographs of family members and close friends, illustrating different episodes from my past. In the foreground of the recording we hear the motor of the Westinghouse fan as well as the waving of the photos in the wind. In the background, we can distinguish the ambient sounds of our house at night, as we pass into sleep and back into wakefulness. Over the seven nights, the only measure of time is the evolution of the ambient sounds in the background, changing with the hours of the night and the nights of the week. “7 nuits sous le Westinghouse” is an intimate sound track which offers a view (or a listen) into the passing of time, the memories it leaves us and their effects on our identity,” wrote Babin.

Harold Schellinx (Paris/Amsterdam) “Tot morgen (à demain);” April 21 to 28, sunset to sunrise. In “Tot morgen (à demain)” a chord consisting in two tritones (‘diaboli in musica’) that overlap each other by a semitone sounds 140 times forwards and 140 times backwards. The unlawful sequence of these soundings forms a palindrome. It spans the interval that separates the beginning of a next day from the end of a previous one, the end of a previous day from the beginning of a next… “until, again, the roar of dawn.” (In the first measure of Stockhausen’s “Klavierstueck IX,” the same chord is played 140 times in an evenly spaced decrescendo that lasts 48 seconds.) “…tezelfder tijd duizend duivels van beneden en van boven duizend goden …” – a thousand demons from below and from above a thousand gods [ Tip Marugg – De morgen loeit weer aan (The roar of morning), 1988].