Isotopica

The scale of what's happening has temporarily blown my fuses, and being painful aware of the need to get programming right and my unpreparedness for this.... I am broadcasting a stopgap program of beautiful sounds for brutal times

This week's programme faces towards Gaza, the unspeakable, the unimaginable, but the reality of what's happening day after day, hour after hour, minute after minute.... is unimaginable.

Lacuna, blank space, Silent void of the unknown, Whispers yet untold. I don’t care what the people might say, people might say I’m gonna keep all love, I love this way, love this wayI don't care what the people might say, people might say I'm gonna keep all love,I love this wayI don’t care what the people might say, people might say I’m gonna keep all love,I love this way, love this wayI don’t care what the people might say, people might say I’m gonna keep all love,I love this way, love this wayI don't care what the people might say, people might say I'm gonna keep all love, I love this way, I'm gonna try, I'm gonna try hard, keep all love, make it lastI know, I know I will do it, I will love it, I will do itI know, I know I will do it, I will do itI know, I will do it Hello, good evening, Sunday night, this is Isotopica, this is me Simon Tyszko, and today is a rather lacuna kind of edition of Isotopica a space where we are in between some things that we are working on and some things that we've recently finished,and today's edition reflects that liminal space between, it's a little bit of this and some bits of that, some nice tunes, some thoughts and some spaces, I hope you enjoy, it's gonna be experimental radio, as ever, it's resonance, it's Isotopica, it's Sunday, I hope you enjoy the sounds we make.and hopefully see you on the other side of these things. I hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soundsI hope you enjoy the soun...

isotopica broadcast 30 July 2023 It's going to be a happy year in Britain this year in the future. It's going to be a happy year in Britain this year in the future. It's going to be a happy year in Britain this year in the future. It's going to be a happy year in Britain, this year in the future. It's going to be a happy year in Britain, this year in the future. It's going to be a happy year in Britain, this year in the future. It's going to be a happy year in Britain, this year in the future. It's going to be a happy year in Britain, this year in the future. It's going to be a happy year in Britain this year in the future. It's going to be a happy year in Britain this year in the future. It's going to be a happy year in Britain this year in the future. It's going to be a happy year in Britain this year in the future. It's going to be a happy year in Britain this year in the future. It's going to be a happy year in Britain this year in the future. It's going to be a happy year this year in the future. It's going to be a happy year in Britain this year in the future. It's going to be a happy year in Britain this year in the future. It's going to be a happy year in Britain this year in the future. It's going to be in the future. It's going to be a happy year in the future. It's going to be a happy year in Britain this year in the future. It's going to be a happy year. It's going to be a happy year. It's going to be a happy year. In the future. In the future. In the future. It's going to be a happy year in the future. It's going to be a happy year. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. In the future. You You You You Good evening, this is me Simon Tishko and you are listening to isotope care here on resonance 104.4 FM This is the last isotope care before we all go away on our summer break. The transmitters are turned to loop and repeat and A little bit of rest will be had by all So I hope as a result this week's isotope care Is looking for that already and it's just a lovely selection of tunes and sounds nothing too challenging nothing too much work here at isotope care just Sharing some nice things that I've come across Underneath us right now. I believe this might Rutledge Rutledge Rutledge from Canterbury scene then we have a selection of really rather charming and Chiffle tunes from an album I picked up a while ago a couple of albums in fact called popular electronics and in this case is popular electronics early Dutch experimental electronic recordings and The end of the towards the end of the program. We're going to be listened to a pirated I Pirated I recorded one of the classics of resonance FM being the Muda Triangle test transmissions originally broadcast live from Bristol By Howard Jax and associates always loved the Muda Triangle test transmissions and my cats did too I've copied that I've attenuated it. I've changed it.

This week Simon Tyszko brings us an extended and captivating work in progress from Berlin based Estonian Composer Elo Masing, exploring post-human and cross-species themes, and commissioned for performance in Switzerland in the coming weeks. This preview has been remixed, attenuated, affected, and finally reassembled by Isotopica especially for Resonance 104.4fm.

This week Simon Tyszko (again) channels Mark Fisher and Jacques Derrida, within a composition of texture and spectrality of (Vinyl) Surface Noise, and extended through copious echos.Our working title..........: Spectral Snap, Crackle, Pop, and Echo. Simon Tyszko this week takes Isotopica further into the mysteries of recent experimentations, examining and pushing the boundaries of what we might consider a contemporary and avant-garde approach to dub, bringing together recordings of radio static and tuning artefacts with extended echoes, creating a unique sonic space almost free of expected gravity, both weightless, and timeless...... and with a cherry somewhere on the top. .I hope you'll enjoy an experiment which is a composition created entirely with the snap, the crackle and the pop from vinyl recordings, from the early trip artists, trip hop artists, and the hauntologists who swarm around Mark Fisher and Jacques Derrida. Vinyl Crackle underpins much of that. And this last week was a programme about Transylvanian dub in which I went on to actually play a whole series of records, which is very unusual for Isotopica. I thought I would take it in a entirely different direction, which today is just the echo because an awful lot of this snap, crackle and the pop will be fed through very extended digital delays.Are you ready for this? I hope so. Oviously there's an academic content, having already mentioned Derrida, we've mentioned Mark Fisher, and the list simply goes on and on. So why don't we just sit back, perhaps put our feet up, perhaps not, and see if we enjoy today's edition of snap, crackle and pop here on Isotopica with me, Simon Tyszko. I'll probably share another word with you all after this. Creative review sonic award winning dub plate installation via Tomato/Underworld

Isotopica this week was recorded just three days ago (27th. May 2022) in a (secret) Berlin park. Simon Tyszko was in conversation with comPoser Elo Masing, accompanied by some songs from Berlin's legendary visiting nightingales, in this walking field recording. Elo Masing and Vincent ************* performing a graphical score by Vincent, at a gallery event not from from Karl-Marx-Allee

In this episode we meet death and death falls in love with us, and despite her parent's plans Grazia also falls for Death, and Death falls for Grazia, her fiancé get's confused and perhaps we find ourselves in a love hexagon.... or some other equally complex shape. Death plays Jenga with a medieval knight (Max von Sydow) in Bergman's classic The Seventh Seal (Swedish: Det sjunde inseglet)

Continuing our cross species experimentation (with Elo Masing in Berlin), we present today a new composition by Simon Tyszko specifically made for, and with the help of, other kinds of animals (as well as the usual Homo sapiens suspects, plus the usual conversation and cultural fillers that so define ISOTOPICA. Details watch Idoru engage with rising and falling sine waves

exchange | ɪksˈtʃeɪndʒ, ɛksˈtʃeɪndʒ |noun1 an act of giving one thing and receiving another (especially of the same kind) in return: negotiations should lead to an exchange of land for peace | [mass noun] : opportunities for the exchange of information. I have always held a fascination for the sheer magic of telephony, with the transmission of disembodied voices across unimaginable distance, combining a direct intimacy with a paradoxical anonymity, a voice speaking directly into ones ear as if relating secrets, with magical powers to connect us across great distances. I would describe this as magic in it's purest form, the transformation of base materials into new forms using the ritualised methods of science

From lockdown we take a phantom stroll with Jimmy Fox, inspired by Walter Benjamin, who, drawing on the poetry of Baudelaire, made the Flâneur an emblematic archetype of the modern urban experience. The Flâneur of course evolved into the psychogeographer via Guy debord and his theory of the derive, to Iain Sinclair in twentieth century London, to the pandemic aetheric and haunted steps of Zigmund Freud's great great grandson Jimmy Fox.

It's now always a late 1970's Sunday afternoon in the in the days of the contemporary Pest A mechanical timer prised from a discarded kitchen in a Bruxelles back street, provides an analogue rhythm around which we build today’s program. Camus provides some words, we tune in to some intercultural networked improvised music from The Ethernet Orchestra, sample a new livestream sound work from Matthew Olden, and all as we gently muse on our world spun upside down on an unfamiliar axis. 7-8PM UTC+01:00 resonancefm.com Ethernet Orchestra is an Internet-based musical ensemble that explores intercultural improvisation through musical performances in located venues and on the web. Founded by trumpeter Roger Mills, the ensemble was formed to address the underrepresentation of the diverse musical cultures in online music making. The group combines electronic and traditional instruments, including Mongolian moron khuur (horse fiddle) and throat singing, tabla, Persian tanbur, tar, balaban, and the Japanese shakuhachi, blended with Buchla synthesizer, DX7, Ableton, voice, guitar, trumpet, and sax. Oceans between Sound is the second album by Ethernet Orchestra and covers a 4 year period of the groups performances and online jam sessions. It is free to download with artwork and CDR disc prints from the Chilean net label Pueblo Nuevo https://pueblonuevo.cl/catalogo/oceans-between-sound/

The Train Rolls On. Chris Marker's Le Train En Marche (1971) First the eye, then the cinema, which prints the look…. A stunned episodepost tory election landslide,in which we listen simultaneously,to both the French and English soundtracks,of Chris Marker'sLe Train En Marche,in an attemptperhaps,to revisit,and evenfind a route back to,the utopiandreamsand projectsof both early and latetwentieth century cultural marxism. The train of revolution. The train of history has not lacked reverse signals and switched points but the biggest mistake one could make was to believe that it had come to a halt. “If Chris asked you to do something you did it: There was no question”, recalls Marc Karlin in one of his last interviews before his death in 1999. ‘Chris’, needless to say, was Chris Marker, Karlin’s friend who he called ‘le maitre’. The task was to provide an English version of Marker’s recent film Le train en marche (1971) – a celebration of the Soviet era filmmaker Alexander Medvedkin and his mythical ‘kino-poezd’ – a ‘cine train’ re-fitted with cameras, editing tables and processing labs, that travelled the breadth of Russia to make films for and with the workers. Films made on the spot, in collaboration with the local people, (workers in factories, peasants in kolhozs), shot in one, day, processed during the night, edited the following day and screened in front of the very people who had participated to its making… Contrarily to the agit-prop trains which carried official propaganda from the studios to the people, here the people was his own studio. And at the very moment bureaucracy was spreading all over, a film unit could go and produce uncensored material around the country. And it lasted one year (1932)!Medvedkin saw his kino-poezd (294 days on the rails, 24,565m of film projected, 1000km covered) as a means of revolutionising the consciousness of the Soviet Union’s rural dwellers. Marker hoped his recent unearthing would incite similar democratic film-making. In tribute, Karlin and other kindred spirits in London joined Cinema Action.” There was a relationship to the Russians. Vertoz, the man and the movie camera, Medvedkin, and his agitprop Russian train; the idea of celebrating life and revolution on film, and communicating that. Medvedkin had done that by train. SLON and Cinema Action both did it by car. Getting a projector, putting films in the boot, and off you went and showed films – which we did”. The people were brought the filmmaker’s cinema, in the same way they were brought the artist’s art and the expert’s science. But in the case of this train the cinema was to become something created with contact through the people and was to stimulate them to make their own intervention. Aleksandr Medvedkin

Performed by humans, Produced by birds. An international phone conversation, London to Berlin, with Elo Masing representing Berlin based WIG (improvisational trio), and Simon Tyszko in London, discussing the world's first musical transcription produced by birds,Music For Birds by WIG, and It's genesis within the glamorous and rarefied world of cross species art with avian tandem Kakaduu.Agapornis Fischeri, better known by the artist name Kakaduu, is originally from Central Africa and now based in Berlin, Germany. They established themselves as artists in London, UK, where they lived from 2010 to 2015. They have been active in the visual arts since 2010 and first gained recognition with the wood veneer and cardboard sculpture “Me and My Home”. Other well-known works include “My Cage” and “My Nightmares About the Cat”. Kakaduu is one of the most remarkable contemporary practitioners of environmental art in Europe, choosing to use mostly recycled material in creating artworks. They prefer figurative wood sculpture, although often also paint on different materials. Favourite media include wood, wood veneer, cardboard, and coconut shell; for painting they use recycled food. Better known paintings from the mature period include “Kakaduu Shit on Canvas”, “Kakaduu Shit on Glass”, “Kakaduu Shit on Veneer”, “Kakaduu Shit on Cupboard Door”, “Kakaduu Shit on Porcelain”, “Kakaduu Shit on A4” and “Kakaduu Shit on DVD”. Well-known artworks from the most recent output include “London”, “The Dwarf’s House on the Hill”, “We Went to See the Elephant” and “The Squirrel, the Cat and the Hare”. Kakaduu’s works have been shown at The First and Second International World Exhibition of Artist Birds. Kakaduu is represented by Gallery Zebra&Tiger. New website in progress at www.kakaduu.art. Watch this space!Scientists claim that birds’ and animals’ brains cannot discern complex intellectual objects such as music.‘‘‘ , That for them, human music is like white noise, similar to the sound of rain, waves or rustling leaves for us. That they can’t hear anything interesting in it, the same way we can’t understand what birds say to each other, all their adventures and other information they share so vividly. , ////7O>’ O>’ O<~

From Chile to Chatham both haunted and alive. Some field recordings and ambient sounds from summer 2019. A zoom recorder balanced just below the pendulum of an ancient yet working grandfather clock in a central room of a venerable Kent House, picks up the steady yet illusory passage of time along with snippets of my extended (Small) family life and conversations. We feature the story of a piano in Chile played by spirits, after stumbling across Julian*s* evocation of those very ghosts on an old detuned upright piano in an apparently lost bedroom, bringing us perhaps to consider the inner life and the meaning of an unprepared piano. after which Peter Suchin riffs on the semiotics of image via Roland Barthes, and an endless vortex filling of a narrow boat water tank punctuates a summer day on the last pirate island of London (as far as we know), as the clock tic toc tic tocs us along to almost certain extinction, and we wonder how to, or even if to, make art, as time is undeniably running out. *Julian Burger Visiting Professor at University of Essex, Human rights and indigenous law One way in to the old kent house  One way in to the old kent house Peter Suchin Explain Art To A Live Cat 2019 John Kenton walks his plank *Julian Burger Visiting Professor at University of Essex, Human rights and indigenous law

A Radio impression of VOCALIS, an irregular performance event at the delicious Beaconsfield Gallery Vauxhall London. VOCALIS places emphasis on giving voice in many forms; sharing ideas, drawing on collective memory and Beaconsfield’s long engagement with text, time-based/live art, performance and sound. Informal and open, Vocalis happens in Beaconsfield’s intimate cafe space - where food and fluids mix with electrical impulses and vocalised concepts. Michael Curran MC Jeroen van Dooren explores divided subjectivities in the company of performing rabbits Jefford Horrigan performs a very personal ritual within a bespoke sculptural assemblage that is jealous of painting Tara Fatehi Irani mishandles an archive from Tehran through photographic images, dance, spoken word and digital media Liming Lin aspires to be a symbol – that everyone looks up to Niamh Roberts delivers a love story especially penned for Vocalis.

99.7% scientific consensus 414 parts of CO2 per million, the highest in earths history. Once in a lifetime weather events every week. Mass extinction and loss of natural habitat happening now. Short term profits in place of life as we know it. We are facing an unprecedented global emergency. Life on Earth is in crisis: scientists agree we have entered a period of abrupt climate breakdown, and we are in the midst of a mass extinction of our own making. this is not a drill this is not a drill this is not a drill https://rebellion.earth Worldwide Rebellion: Continues 7 October 2019 Rebellion too07 October 201919:00 (UTC +01:00)-Until:18 October 201922:00

A play on words Zoe Zarkovsi and Simon Tyszko engage in Word play or wordplay (also: play-on-words) being a literary technique and a form of wit in which words used become the main subject of the work, primarily for the purpose of intended effect or amusement. Examples of word play include puns, phonetic mix-ups such as spoonerisms, obscure words and meanings, clever rhetorical excursions, oddly formed sentences, double entendres, and telling character names (such as in the play The Importance of Being Earnest, Ernest being a given name that sounds exactly like the adjective earnest). Word play is quite common in oral cultures as a method of reinforcing meaning. Examples of text-based (orthographic) word play are found in languages with or without alphabet-based scripts; for example, see homophoerate our accompanying nic puns in Mandarin Chinese. Deleuze and food, time and chance, combine with a collection of pure data patches that algorithmically generate our accompanying soundtrack, the hidden hand of a god who simply never existed. Le menu est la liste des divers mets qui composent le repas. Dans un restaurant, ou à la cantine, c'est l'ensemble des mets qui peuvent être servis pour un prix déterminé. Par métonymie, le menu est le feuillet, le carton, le tableau, l'affichette, l’objet ou la brochure qui liste : les mets servis lors d'un repas : manuscrit ou imprimé, illustré ou non, il présente au convive la liste des mets et boissons qui vont lui être servis lors d'un repas ou d'un banquet. Cette pratique, qui remonte au xixe siècle, et qui tend à se perdre (sauf dans les réceptions officielles), participe à l'art de la table ; elle offre de précieux renseignements aux historiens de la cuisine ; le choix des différents mets pouvant être servi pour un repas au restaurant.

This particular episode revolves around a trip to the vet with Idoru the cat, during which we share a delightful conversation around topics of the day. Our cycling conversation perfectly sets the scene for a program approaching the cutting edges of trans-species art research, featuring tracks from a new album entitled 'Crane Cries', which revolves around a live recording emulating the sounds and intentions of cranes through string improvisation and unusual techniques, by the quartet of Estonian violinist Elo Masing, German violinist Dietrich Petzold, Portuguese violist and cellist Ernesto and Guilherme Rodrigues, who name each of the 8 tracks after the behaviour of cranes, forming a flock, migration, fighting, ritual dancing, and nesting.This conflation of the chat with a cat on a bicycle, and the avian themed avant guard music is purely coincidental, and only came about when isotopicee Elo Masing sent this latest release hot off the presses from Berlin, which is available as a limited edition from various online outlets including Ernesto Rodrigues' Bandcamp site here.Yet at the same time Elo has been working for several years now with avian artistic tandem Kakaduu, Agapornis Fischeri, originally from Central Africa and now based in Berlin, Germany. Kakaduu established themselves as artists in London, UK, where they lived from 2009 till 2015. They have been active in the visual arts since 2010 and first gained recognition with the wood veneer and cardboard sculpture “Me and My Home”. Other well-known works include “My Cage” and “My Nightmares About the Cat”.Most recently Kakaduu been the worlds first birds to have produced a human musical record release with Berlin based WIG ensemble's unique album Music For Birds, which features in a future edition is Isotopica. Much more to follow on our trans-species investigations to follow. Meanwhileas it turned out, Idoru was not unwell, and her recent strange behaviour was simply one of those cat things, although the vet (at the amazing and wonderful animal charity The Blue Cross) mentioned several time that Idoru was fat....Subsequently our new crash diet seems to have bought out the hidden kitten in both Voltaire and Idoru, and we have entered an exciting and new athletic phase under the aeroplane wing here at Phlight

Ken Livingstone Ken Livingstone, The only truly successful left-wing British politician of modern times ......is an English politician who served as the Leader of the Greater London Council (GLC) from 1981 until the council was abolished in 1986, and as Mayor of London from the creation of the office in 2000 until 2008. He also served as the Member of Parliament (MP) for Brent East from 1987 to 2001. Born in Lambeth, South London, to a working-class family, Livingstone joined Labour in 1968 Ken went on to become the head of the GLC. The GLC began as an effort to rationalise London-wide planning, London in the 1950s could be a grim place. Large swathes of residential streets remained derelict after being bombed out during the war and the houses still standing were often squalid and overcrowded. Thick fog hung over the city and roads were dirty and dangerous……. The GLC under Ken Livingstone was an an administration that successfully enacted a historically unprecedented radical program of successful and popular socialist policies, including massive investment in job creation, reducing public transport fares, the declaration of London as a nuclear free zone, saving over a million pounds annually spent on utterly cometic and pointless defence plans nik e hiding under a table before the bomb went off). Arguing that politics had long been the near-exclusive preserve of white middle-aged men, the GLC began an attempt to open itself to representations from other groups, principally from women, the working-class, ethnic minorities and homosexuals but also from children and the elderly. They initiated a raft of measures to improve the lives of minorities within London, this included funding for groups such as London Gay Teenage Group, English Collective of Prostitutes, Women Against Rape, Lesbian Line, A Woman's Place, and Rights of Women, and the Ethnic Minorities Committee. Understanding the clear evidence that the Metropolitan Police was an institutionally racist organisation, he appointed Paul Boateng to head the Police Committee and monitor the force's activities.[100] the police he remarked are highly political organisation, noting that when canvasing police flats at election time, you find that they are either Conservatives who think of Thatcher as a bit of a pinko or they are National Front."[100] An outspoken republican he politely refused an invitation to Diana and Charles Windsor’s wedding and the list of righteous achievements simply goes on and on, and of course Just as today our overwhelming right wing press rabidly attacked such egalitarian policies, snowflake like and steeped in patriarchal white privilege they moaned that such policies only served "fringe" interests, and also like today their criticisms often exhibited overt racist, homophobic and sexist sentiment… The GLC ended after an extended and fierce face-off between perhaps two of the most popular and divisive figures in British politics: Margaret Thatcher and Ken Livingstone, with Thatcher shamelessly abolishing the London’s Council she simply could not defeat by democratic means, with it’s formers headquarters, county hall still facing parliament from the south bank as an irony free monument to her neoliberal policies, the building now a Macdonalds, a tourist trap aquarium and of course a hotel for the fifty rich. This list of adventures and landmark achievements goes on and on, including two tenures as London mayor (the first time as an independent winning against Tony (call me Maggie) Blaire’s official labour candidate, he as been Characterised as "the only truly successful left-wing British politician of modern times, and today Ken Joins David Ellis and me Simon Tyszko on Isotopica live on resonance 104.4 FM.