anti-white noise critical space - RRadio Triton Data Retrieval Interface

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Africa neocolonial recovery of subaltern histories in a dimension of genesis carried by deep resentments of the present
Alien you know this if you have spent some time in an enclosed space with an excited bat
Anarchism anarchic and eroticised happening-art
Animal companion imaginaries with those who inhabit material and semiotic positions
Black Atlantic gift-burden of the descendants of slaves, refugees, immigrants, travelers
Body a theory of the politics of sex
Fabulation fiction made up by people in their process of becoming
Fantasy criticism in the form of speculative fantasy
Feminist movement rooted in specification and articulation of different kinds of ‘elsewhere’
Feminist theory you can't do feminist theory without paying attention to the details of women lives
Fiction that which folds technical beings in order to derive from them a new type of alteration
Foley pathway through an unmistakably specific landscape of sounds
Future stories that figure ‘us’ as agential and expressive
Music poem's body of sound in its specific particular flesh
No-Hero story not the adventures of an identification
Past your head screwed backward, but not so much looking for relevant novelty
Present what counts as a responsible person in temporarily?
Science Fiction risking the wrong blend and watching the uncontrollable spill of consequences
Worlding how language participates in shaping our lived worlds in some ways and not others
Adva Zakai
Aela Royer
Alice Chauchat
Christian Hansen
Darko Suvin
Donna Haraway
Edward George
Ekaterina Kaplun
Esta Matkovic
Esther Rodriguez-Barberzo
Eunkyung Jeong
Fabrizio Terranova
Femke Snelting
Felix Guattari
Helena Dietrich
Juan Fernando Duque
Kristien Van Den Brande
Laurence Rassel
Lili Rampre
Luiza Crosman
Marialena Marouda
Myriam Van Imschoot
Octavia Butler
Paul Gilroy
Peggy Pierrot
Pierre Rubio
Samuel Delany
Sana Ghobbeh
Seba Hendrickx
Sina Seifee
Sol Archer
Steve Goodman
Sven Dehens
Ursula le Guin
Zoumana Meite

category suggestions:

anti-white noise critical space alternative takes on über-Mensch through sound and music as forms of critique
different hopes the question of ‘what to do?’ after the deillusionization of old regimes of commercial, technological, artistic, political, social utopias
programBroadcasting RRadio Triton Broadcasting RRadio Triton by OFFoff, Domes FM, a.pass and RRadio Triton, 26.01.2019
radioactive condensations portals
science fictioning the real
staging difference through minor perspectives oppressed category build-up–shifts/changes in the status of victims–resilience processes by self-determination of h/History(ies)
the trouble of an imperfectly stitched body disparate monster identity as the very condition of shared mode of vision

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anti-white noise critical space matched TAXONOMY
alternative takes on über-Mensch through sound and music as forms of critique
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There is no Polyamoury Love Song [►play] [solo] [data]
- https://rradiotriton.apass.be/.../RRadio-Triton-There-Is-No-Polyamoury-Love-Song.mp3
- There is no Polyamoury Love Song
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- Aela Royer
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- "RRadio-Triton-There-Is-No-Polyamoury-Love-Song".
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No Scarcity World [►play] [solo] [data]
- https://rradiotriton.apass.be/.../RRadio-Triton-No-Scarcity-World.mp3
- No Scarcity World
- an audio editing of a collective improvisation, 20’, 2019
  Score by Sol Archer
  Performers Aela Royer, Marialena Marouda, Sana Ghobbeh, Seba Hendrickx, Sina Seifee, Sol Archer, Sven Dehens, Zoumana Meïté
  Editing and sound Pierre Rubio & Christian Hansen
  The collective improvisation was performed in January 2017 in Brussels at a.pass (advanced performance and scenography studies - a platform for artistic research)
- 163
- 00:32:09
- Aela Royer
- Marialena Marouda
- Sana Ghobbeh
- Seba Hendrickx
- Sina Seifee
- Sol Archer
- Steve Goodman
- Zoumana Meite
- Pierre Rubio
- Christian Hansen
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- Sol Archer is an artist, primarily working with the moving image to research the layering of narratives within location. Sol’s work has been exhibited internationally, at, among other places, the Sydney Biennial, the MuKHA Antwerp, Action Field Kodra, and the University of California. Currently he is an artistic researcher at the Jan van Eyck Academie where he is developing a film workshop, based on an improvisational game of science fiction and alternative futures. http://www.solarcher.co.uk https://youtu.be/vd4pM5-d3yU
- Frederick Jameson, following Darko Suvin, identifies Utopian fiction as a specifically economic sub-genre of science-fiction. Science fiction is a propositional form for creating alternative narratives, realities, and social structures, with utopian texts generally focussed on different ways of structuring property. While these may be deeply imaginary worlds, this alternative is not intended to be unrooted from the real. These imagined alternatives operate explicitly or implicitly as critique. By staging difference, one is able to critique the real, or what Darko Suvin calls the zero world. The science fictional world is not only different in time or place to our own, but one whose chief interest is precisely the difference that such difference makes. It is also a world whose difference is concretised within a cognitive continuum with the actual. At the root of this difference is a process of estrangement. This works in different ways, but one of the narrative conceptions most useful is from Darko Suvin. Suvin identifies Science Fiction as a logic of ‘cognitive estrangement’, in which something distinctly different from the real world is introduced, and the structure of the new world and its narrative extend rationally from this new thing, this ‘novum’. This mechanism of estrangement allows one to look at the world as it is from the outside. From another complete reality, and through that to critique the structures of consensus reality.
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- This collective oral script-writing follows a score proposed by Sol Archer, a visual artist primarily working with the moving image to research the layering of narratives within advanced capitalism locations. The collective ‘estranged’ oral storytelling describes an utopian world where there is no scarcity because a technology provides automatic nutrition for people for free. Beyond the exciting descriptions composing the script/world imagined on the spot by the group, the free associative and inventive process is also a mode of reflection on Suvin’s concept of ‘cognitive estrangement’.
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An Animal Escape Case [►play] [solo] [data]
- https://rradiotriton.apass.be/.../RRadio-Triton-An-Animal-Escape-Case.mp3
- An Animal Escape Case
- an audio editing of a live lecture, 55’ to 70’, 2019
  Author and Performer/Lecturer Sina Seifee
  Editor Pierre Rubio
  Sound Christian Hansen
  The lecture was performed in March 2017 in Brussels within the lectures series “Book Club” at a.pass (advanced performance and scenography studies - a platform for artistic research)
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- 01:22:06
- Sina Seifee
- Pierre Rubio
- Christian Hansen
- Christian Hansen
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- Sina Seiffe is an artist-researcher-storyteller working on poetics of animal description (ecological cosmologies of nonhumans-with-history). Born in Tehran (1982), he studied Applied Mathematics in Beheshti University and Visual Arts in Charsoo Institute of Art in Tehran. After moving to Germany in 2011, he graduated in Cologne with master diploma in Media Arts from Kunsthochschule für Medien Köln (2014) and received his postmaster in Advanced Performance and Scenography Studies from a.pass in Brussels (2017). A two-year research program in which he developed his work on bestiaries, and a deep interest for other people’s projects and how we get on together in communities of knowledge. His artworks (realized in different forms of lecture-performances, reading group, workshops, image making, video and writing) are about the questions of technology, storytelling, globalism and intercultural mythologies in the heterogeneous knowledge-worlds of art and sciences, with attention to the premodern era.
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- Animal
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- The essay/performance investigates the fragile intersections of friendship between digital avatars and trans-animals in the social media in Tehran’s landscape. Through personal animal-findings and fairy-tale associations the ‘An Animal Escape Case’ interprets the epistemological openings and closings in cross-species sociality in Tehran domestic landscape exemplified in the everyday use of mobile phones where images of pets circulates and different species meet in mediated formats. The essay/performance analyzes all that anthropomorphism performs and withholds on and with animality in the situated conditions of contemporary Tehran domestic life and addresses the relationships between people, animals and place in a socio-technological milieu as complex as Tehran’s urban environment with its politics, televised operations, public/private cross- boundaries, its wilderness, and technologically mediated stories and rumors that populate its landscape.
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The Wife's Story by Ursula K. Le Guin [►play] [solo] [data]
- https://rradiotriton.apass.be/.../RRadio-Triton-The-Wifes-Story-by-Ursula-K.-Le-Guin.mp3
- The Wife's Story by Ursula K. Le Guin
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- 00:13:57
- Ursula le Guin
- Pierre Rubio
- Christian Hansen
- Christian Hansen
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- Alien
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- The Wife's Story [pdf]
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Hello World [►play] [solo] [data]
- https://rradiotriton.apass.be/.../RRadio-Triton-Hello-World.mp3
- Hello World
- The sound piece is a long and atmospheric editing of a wild collective improvisation by a group of artists-researchers that occurred during a sound research atelier called ‘Foley Your Research’. The recording session offered choices of changing time and space completely as the artists-researchers worked free of any visual references but focussed on creating images through the exclusive use of sound.
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- Pierre Rubio
- Pierre Rubio
- Christian Hansen
- Christian Hansen
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- anti-white noise critical space
- Foley
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- The atelier was based both on the history of the evolution of methods used to reproduce sound effects for film (foley) and a research around the question “how does/could your research sound like?”. The artists-researchers involved in the atelier answered through audio improvised compositions to some questions like ‘does your research have a direct auditory quality and content or would you like/need to create a fictional soundscape to give it a sound? Or ‘how does an object/material producing a given sound release to the mental image you want to produce? And vice versa?
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