Christian Galarreta, In a similar fashion, the Radio Revolten Radio crew together 6. Field Recordings II: with the artists Víctor Mazón Gardoqui and Rodrigo Ríos Raw Electromagnetic Detritus, Zunino brought the nocturnal soundscape of the city of Halle 2017, CD and online: https:// chrsgalarretaprojects.bandcamp. to their listeners’ ears. Equipped with detectors and broadcast com/album/raw-field-recordingsdevices, the soundwalkers explored the hidden sounds of the ii-electromagnetic-detritus (accessed 8 November 2017). city: the radio splutters with the real-time chirping, buzzing and 7. cf. Mark Fisher. of My Life: Writings humming of trams, display boards, and telecommunication Ghosts on Depression, Hauntology and equipment. The fascination for electromagnetic waves that invis- Lost Futures. Winchester: Zero 2014. “In hauntological ibly and inaudibly make up the ether as well as the technologies Books, music there is an implicit of their sonification become the material and subject of radio art acknowledgment that the hopes created by postwar electronica in very different ways during Radio Revolten: as electro-smog or by the euphoric dance music [chap. 12] of the 1990s have evaporated—not in the antenna installation by Joyce Hinterding only has the future not arrived, or as musical material for example in the performance by Anna it no longer seems possible.” [chap. 13] cf. https://aporee.org Friz, Jeff Kolar and Kristen Roos. The radio as an 8. (accessed 8 November 2017). auditive medium can bring the unheard outdoors to our ears thus bringing disregarded and overheard sound landscapes into focus. But beyond the puristic, ecological focus of soundscape pioneers there are also soundscape compositions that deal with acoustic environments, human perception, and their interplay: with his composition Waking in Nima, soundscape artist Steven Feld describes his individual aural experience of the morning soundscape in Nima, a neighbourhood in the city of Accra in Ghana; in his piece Sonopolis, musician and biologist Francisco López composes a city as organism from urban field recordings he collected over several decades; in The Only Good System Is A Sound System, the trio Soundwalk Collective crawls under the concrete skin of the Berlin music club Berghain to create a hauntological composition of desire.7 For a long time, field recording remained a specialty of individual sound researchers and artists who published their recordings on CD. In the 21st century the internet and the smartphone created new modes of production and distribution for acoustic observations. With the web platform radio aporee 8 media artist Udo Noll has developed a world-wide sound map that, as a global field-recording archive, in a sense continues the
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imperceptible electromagnetic fields coming from our technologies of communication. We accept them as normal in our daily life despite the consequences they generate on our physiologies.6
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