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I receive you | Bird & Renoult<\/a><\/strong> <\/p>\n <\/p>\n A series of four 14x14cm postcards, offset print on 350g smooth art paper. <\/p>\n Radio Pyral (23:21) | MP3<\/a> <\/p>\n 4 Tracks (61\u203255\u2033) <\/p>\n Sounds made with : short wave radio, tapes, pyral disc, tutorial cassettes, guitar, gmebogosse 4, grendel drone commander.<\/p>\n <\/p>\n I RECEIVE YOU <\/p>\n Jean-Philippe Renoult : photography, musical instruments, recordings, mixing. <\/p>\n Sound Art Series by Gruenrekorder <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Aurelio Cianciotta | Neural<\/a><\/strong> <\/p>\n Hans Groiss | Sound Art: Kunst zum H\u00f6ren<\/a><\/strong> <\/p>\n Was hat der Hochfrequenzhandel mit Antennen zu tun und warum sind „Unfrequented Frequencies“ dennoch sehr frequentiert? Die Klang- und Radiok\u00fcnstler Jean-Philippe Renoult und Dinah Bird interessieren sich in ihren Arbeiten f\u00fcr die Erforschung der \u00e4sthetischen, materiellen und sozialen Aspekte der \u00dcbertragungstechnologie. Im Jahr 2016 begannen sie mit Antenna Gods, einem Kunstprojekt, das sich mit der materiellen Kultur des Radios besch\u00e4ftigt. Neben dem St\u00fcck „unfrequented frequencies“, einer exklusiven Kunst zum H\u00f6ren-Solo-Improvisation von Renoult, werden heute die Neuerscheinungen beim Label Gruenrekorder „Gold Lines“ und „I Receive You“ des Duos vorgestellt.<\/p>\n <\/p>\n The Gold Lines ist eine Komposition inspiriert durch die Verwendung von Radiowellen in der Welt des Hochfrequenzhandels. „Der Hochfrequenzhandel (HFT) nutzt komplexe Algorithmen, um verschiedene M\u00e4rkte zu analysieren und Auftr\u00e4ge auszuf\u00fchren. Im Handelsvokabular ist ein Signal ein Datenmuster, das diese Algorithmen beeinflusst und sie veranlasst, Aktien zu kaufen oder zu verkaufen oder einen Auftrag zu stornieren. Um diese Daten schneller zu \u00fcbertragen, wird eine fast vergessene und schnelle Technologie eingesetzt: Funkwellen. Seit 2016 kartieren wir diese Funkrouten, indem wir die Masten, Frequenzen und Relaisverbindungen ausfindig machen, die HFT-Daten in erdumspannenden Schleifen hin und her \u00fcbertragen. Das Kernmaterial von Gold lines umfasst Aufzeichnungen von Superhochfrequenz-Funkwellen, Signalrauschen und Feldaufnahmen, die wir an der Basis von Antennen zwischen Chicago und New York, London und Frankfurt gemacht haben.“ (Jean-Philippe Renoult und Dinah Bird)<\/p>\n <\/p>\n Unfrequented Frequencies ist eine Solo-Improvisation von Jean-Philippe Renoult, er verwendete Kurzwellen-Radiointerferenzen als Grundlage f\u00fcr seine speziell f\u00fcr Kunst zum H\u00f6ren entstandene Version. „Als Kind habe ich stundenlang an der W\u00e4hlscheibe des Radios herumgefummelt, um nach Modulationen zu suchen. Als Erwachsener nehme ich diese Frequenzen auf, ich archiviere sie. Ich gebe ihnen eine w\u00fcrdige Grabst\u00e4tte: Audiokassetten. Dann erwecke ich sie wieder zum Leben, indem ich Kassettenrekorder mit unterschiedlichen Geschwindigkeiten benutze, filtere und durch Effektpedale ver\u00e4ndere. Diese Frequenzen versprechen einen Song, halten das Versprechen aber nicht ein. Sie sind in Stille gekleidet, ohne stumm zu sein. Sie sind unbenutzt, aber von Geistern bev\u00f6lkert …“<\/p>\n <\/p>\n I Receive You – Eine Serie von Postkarten und Kl\u00e4ngen, die die materielle Kultur des Radios dokumentieren, aufgenommen in St. Aoustrille, Frankreich, Sommer 2022. Inmitten der h\u00fcgeligen Rapsfelder stehen \u00fcberall Funkt\u00fcrme. Einige dieser Antennen haben Namen: Donau, Mekong, Tiger, Ural, Mississippi, Nil, Ganges. Einige gibt es nicht mehr. Diese Fotos sind ein Mahnmal f\u00fcr die Antenne, sowohl in der Vergangenheit als auch in der Gegenwart. Die Kompositionen waren Teil der 22st\u00fcndigen Sendung Birth of a Signal f\u00fcr Radio Art Zone. <\/p>\n textura<\/a><\/strong> <\/p>\n Gold Lines is part of the larger project Antenna Gods that Bird and Renoult initiated in 2016 and that maps the routes of high-speed radio waves used in High Frequency Trading (HFT). In such a context, every microsecond is critical and can carry huge financial implications, so obtaining the most direct route between exchanges is imperative. To map those pathways, the collaborators identified the locations of the pylons, frequencies, and relay links that transmit the data around the globe. The Gold Line itself is the nick-name given by Chicago traders to the data transmission route connecting the New York Stock Exchange (NYSE) and the Chicago Mercantile Exchange (CME).<\/p>\n <\/p>\n The cassette sides are titled \u201cLine A\u201d and \u201cLine B\u201d to reference the physical networks the transmission routes use to relay info back and forth. Satellite dishes are placed at tall structures such as buildings, water towers, and out-of-service radio antennas so that unobstructed \u201clines of sight\u201d can be established between dishes. As any obstruction may cause interference or the blocking of a signal, tall towers are ideal for dish placement. The material itself, eight tracks totaling forty-three minutes, is electroacoustic in nature and, much like Perifaerye, could be classified \u201csonic geography.\u201d<\/p>\n <\/p>\n In \u201cLine of Sight,\u201d a male speaker explains what the title term means alongside roaring static and industrial whirrs. Also reminding us of the part humans play, \u201cJust a Bit\u201d is dominated by the aggressive pitches of a stock trader. Representative of the release’s sound design is \u201cGold Rush,\u201d which includes ghostly drones, wailing sirens, and smears sequenced into a shuffle-like rhythm. Other tracks are dotted with windswept rumbles, vaporous static, and billowing ripples of noise. Shorter pieces frame a long one at the centre of each cassette side, the eight-minute crackle and buzz of \u201cThe Gold Line\u201d on A and the fifteen-minute \u201cHigh Frequency Feedback\u201d on B. Whereas the collage design of the former sees voice samples, ghostly drones, and clatter worked into its presentation, the oft-meditative latter presents a polyphonic array of high-pitched electrical tones suggestive of signals traveling along transmission routes. Imagine Kraftwerk’s Radioactivity stripped of musical numbers and re-presented as a release featuring its abstract sound collages only and you’ll have some sense of the zone Bird and Renoult are operating within, even if their project takes the concept to a further extreme. <\/p>\n Rigobert Dittmann | Bad Alchemy Magazin<\/a> (122)<\/strong> <\/p>\n Frans de Waard | VITAL WEEKLY<\/a><\/strong> I receive you | Bird & Renoult Gruen 216x | Cards (+ Digital) | Digital > [order] Cassette (+ Digital) | Gold Lines > here Reviews A series of four 14x14cm postcards, offset print on 350g smooth art paper. Each postcard refers to a track on the downloadable album I Receive You. 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\nGruen 216x | Cards (+ Digital) | Digital > [order<\/a>]
\nCassette (+ Digital) | Gold Lines > here<\/a>
\nReviews<\/a>
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\nEach postcard refers to a track on the downloadable album I Receive You.<\/p>\n
\nWater Guitar (8:04) | MP3<\/a>
\nSwifts & flutes (14:45) | MP3<\/a>
\nThe Voice of The Antenna (15:32) | MP3<\/a><\/p>\n
\nCards (250 copies)<\/p>\n
\nA series of postcard and sounds that document the material culture of radio, recorded in St Aoustrille, France, Summer 2022.
\nIn amongst the hilly fields of rapeseed radio towers are everywhere. Some of these antennas have names; Danube, Mekong, Tiger, Ural, Mississippi, Nile, Ganges. Some no longer exist. These photos are a memorial to the radio pylon, both past and present.
\nThe compositions are iterations of a longer broadcast work, Birth of a Signal, a 22 hour programme commissioned for Radio Art Zone<\/a> that takes a sideways look at the history of short wave radio in France.<\/p>\n
\nDinahBird : found sounds, recordings, edits.<\/p>\n
\nGermany \/ 2023 \/ Gruen 216x \/ LC 09488<\/p>\n
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\nDinahBird and Jean-Philippe Renoult\u2019s focus here is on early radio transmission technologies. These technologies are now being updated by virtue of the need of the world of finance to transfer data at ever higher speeds \u2013 attainable using specific frequencies rather than the internet. Broadcasting via radio waves, an almost forgotten technology, remains one of the most immediate and secure methods of data transmission, which in high-frequency trading (HFT), together with the complex algorithms that analyse different markets, allows stock trading to be even more profitable by exploiting in real time the fluctuations that arise in the value of shares. The two French musicians have been mapping these radio routes since 2016, geolocating the pylons, frequencies, and relay connections that transmit HFT data back and forth, to make audio captures in proximity to the pylons where satellite dishes act as network bridges, thus recording the noise of the signal, the wind beating on the cables that support the structures, along with electromagnetic hums and radio static currents while occasionally adding a voice to provide context. All of this has to do with digitisation, which translates into multiple different temporalities, rhythms, and scansions. It speaks to us of speed and abstraction, of paths that are not circumscribed by borders but instead follow the trajectories of aggressive financial operations. In this speculative trading model, large amounts of capital are required to exploit the slightest changes in stock market variations, as well as the latest generation technologies, hardware and software. The techniques used by the artists are however the classic ones of field recordists, which they employ to explore the aesthetic, material, and social aspects of technological transmission. The duo then modulate the results in electroacoustic compositions, sound installations, and radio broadcasts incorporating readings, other testimonials and images relating to the research. This shouldn\u2019t make you think that the \u2018musical\u2019 performance isn\u2019t equally significant. Listening to Gold Lines is fascinating, engaging and mysterious. Gruenrekorder have released it in an elegant cassette format which has previously been presented in various forms at the Serendipity Arts Festival and included in the even more complex Antenna Gods project.
\nlink<\/a><\/p>\n
\nFranz\u00f6sische Radiokunst von Dinah Bird und Jean-Philippe Renoult
\n„unfrequented frequencies“ des franz\u00f6sischen K\u00fcnstlers Jean-Philippe Renoult, sowie Pr\u00e4sentation der Neuerscheinungen „Gold Lines“ und „I Receive You“ von Dinah Bird und Jean-Philippe Renoult bei Gruenrekorder.<\/p>\n
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\nBless Gruenrekorder’s ever-beating experimental heart. The German company has never strayed from supporting unusual projects, and its latest Soundscape Series releases are quintessential exemplars of the label’s vision. Issued on a gorgeous slab of purple vinyl (a 300-copy edition), Perifaerye is built around soundscape recordings Berliner Jorn Ebner collected in spring 2023 of urban spaces in the Hamburg district of Eidelstedt and is presented as a multi-part work comprising audio, images, and text. The cassette release Gold Lines (200 copies), on the other hand, is the brainchild of Paris-based DinahBird and Jean-Philippe Renoult and presents recordings of Super High Frequency radio waves, signal noise, and field recordings. The material collected by the sound artists between 2016 and 2020 originated from antenna bases from Chicago to New York and London to Frankfurt. Both releases (also available, of course, digitally) are uncompromising in their sound presentation, but they’re also engaging and thought-provoking. […]<\/p>\n
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\nBIRD & RENOULT, das sind DinahBird und Jean-Philippe Renoult, sie Jg. 1975 und aus London, er Jg. 1967 und aus Paris. Dort ma\u00adchen sie zusammen konzeptionelle Klang\u00adkunst, die um Fragen der Diffusion, Transmis\u00adsion und der Erinnerung kreist, mit dem Oh\u00adrenmerk auf Radiowellen, Taperecorder, An\u00adtennen, Transistoren, Ghettoblaster und Un\u00adterseekabel. Protagonist von Gold Lines (Gruen 216\/23, MC + Digital) ist einerseits die algorithmische Mikrowellenverbindung zwi\u00adschen der New York Stock Exchange und der Chicago Mercantile Exchange. Und die Ver\u00adbindung zwischen den Londoner und Frankfurter B\u00f6rsen quer durch Belgien andererseits. Geprassel und eine technische Beschreibung des Transfers mit dicker Amizunge, rhyth\u00admisches Zucken, als w\u00fcrden Nuggets gesiebt, und eine Feueralarmsirene geben dem Ge\u00adsch\u00e4ft der gold- und profitberauschten Heuschrecken den zwiesp\u00e4ltigen Anstrich, den es verdient. You don’t see it, you don’t smell it, You can’t taste it, but it’s there, und \u00fcber kurz oder lang stinkt es zum Himmel. Mir stellen das Rauschen im \u00c4ther, meertiefe Rumoren, geigerz\u00e4hlerhafte Prickeln, schrottige Scheppern, st\u00fcrmische Flattern den Lauf der Dinge vor Augen: Oben unh\u00f6rbar, unsichtbar \u2013 au\u00dfer in ihren protzigen Yachten \u2013 baden die Uncle Scrooges in ihren Milliarden, unten mehren sich Sintflut, Feuersbr\u00fcnste, M\u00fcllberge, Verw\u00fcstung. Das rebellische Aufbegehren dagegen erweist sich bei ‚Just a bit‘ als Ge\u00adschrei eines Auktionators. Dazs Ganze spielt sich hinter einem rauschenden, pulsenden, pfeifend bebenden, hochfrequent flimmernden und brummigen Schleier ab, vor dem man Lotto-K\u00f6nige und Quizz-Million\u00e4re gaukeln l\u00e4sst, statt \u2013 ja was? An die Laternen? Und zwar, das grollende, klirrende, wummernde, tockende ‚Tick-by-tick‘ fordert es unverbl\u00fcmt, Zecke f\u00fcr Zecke? [BA 122 rbd]
\nlink<\/a><\/p>\n
\nHere are two musicias from France, DinahBird (no space apparently) and Jean-Philippe Renoult, with a strong interest in radio sounds. „Their work includes sound pieces, installations, broadcasts, performances and publications and is often inspired by early transmission technologies and archives. Their current interests include, electromagnetic hums, old weather, loops, drones, and high frequency trading.“ This new cassette deals with the fact that (again, apparently), radio transmissions are used in stock trading. Of the utmost importantce is speed, and radio provides something that is faster than the Internet. This is called High Frequency Trading, and Bird and Renoult are looking for pylons in the landscape used for this, and they recorded the pieces on the cassette ins-yu. One is a line from Frankfurt to London, and the other from New Yourk to Chicago, give or take. Sometimes a voice explains what’s going on, but it’s mostly music. I would have liked the music, even without the backstory, which I find an interestiing addition. Somewhere between a soundcape created with buzzes and hums, radio static and electromagnetic currents and proper electronic composing with these sound events we find the pieces (not sure how many there are on this cassette). Maybe there is some processing going on, and the whole thing has a musique concr\u00e8te-like approach, which I enjoyed very well. Thanks to the occasionally spoken word, there is also a radiophonic component to this music. I understand the need for a release on cassette, but with the delicacy of some of the music here, I wouldn’t mind a CD version of this. Even when the background story isn’t entirely clear, especially what it is they recorded, the music is very enjoyable. Great release, altogether.
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