Radio Kinesonus on April 13, 2003

Most noise artists have had an tendency to avoid using musical instruments purposely, but on the contracy, I've preferred and played analogue synthesizers deliberately. But in this performance, I did it without any musical instruments. What I used were two laptop computers and two cheap effectors. As there is a history of "musical instruments", there is a history of "un-musical instruments". Nowdays, the laptop computers have become the trend of the "un-musical instruments", but that already have an aspect for being musical instruments too. In a word, by an appearance of laptop computers to the music history, the history of the "musical instruments" and it of the "un-musical instruments" have mixed. It looks like that it links with the present situation that is collapsing stereotype of "music" by getting unclear the borderling between the "music" and the "un-music" endlessly.
- Hiroshi Hasegawa

Airwaves have innumerable horizons. Moving of my hands reveals them. It cannot explain anything to say that the electrodynamic position of the hands changes the capacitance, inductance and impedance of the fields that numbers of ultra micro transmitters. Hands themselves have their own airwaves and are in the airwaves. The positions and movements refer to my feeling and conceptuality but there should be far more than such elements. While improvising, conceptually, I was thinking of a requiem for Bagdad since the modern war tries to erase all of horizons, physical or conceptual. In fact, the US Air Force used "E-bomb" to knock the Iraqi TV off the air with an "experimental electromagnetic pulse device of over two billion watts". This was the totally opposite use of airwaves against emancipating and finding innumerable horizons of airwaves.
- Tetsuo Kogawa

The first three tracks played today were all by an arrtist from Brighton, UK, called Ian Helliwell Ian is a film maker and musician - creating music primarily from the sounds made by radios, toys and electronic kits. H is films are created using foundsuper-8 film footage, and from new material that he shoots and processes using bleach, drawing, and marking the resulting footage. The first track is called "coloured light district"; the second track is ca lled "Expo '58", and the final track is called "Headache!". The next piece is by myself - created by misusing a Yamaha RM1X designed more for dance music than for abstract experimental music. The final piece is, appropriately enough, a re cording of a sound art performance made over the telephone. It is called "Here comes everybody" and is by Gregory Whitehead leading the chant over the phone, and Dan Lander (& friends) on the other end of the wire.
- Keith de Mendonca

My system is always very simple. The sampling device AKAI S20 has been fascinating me for a long time. This old machine has only a small-size RAM and a floppy disk. It is hard to handle but this very insufficiency leads me to physically m emorize every data to exactly set up. I have been also absorbed in using PALM PDA for a MIDI sequencer. In this piece, I changed the phrase speed and the sound quality from 32 khz to 16khz to 8khz to 4khz.....
- Kenji Maehara