Artist: Edyta Jarząb & Paweł Kreis
Description: We went to the forest, despite entry being forbidden because of the current pandemic, to record communities of species while the noise of humans was reduced. These conditions also encouraged us to make sound interventions, playing with objects such as giant piles of resonant wood. During an improvised live session, we will mix these recorded sounds to stream them for the festival.
Type: Live to Tape
Bio 1: Edyta Jarząb is an improviser, working with voice and electronics, field recordings and deep listening practice as forms of sonic activism. Her works embrace compositions for experimental theatre, dance and films, and for the radio. She is one of the founding members of community Radio Kapitał in Warsaw.
Bio 2: Paweł Kreis is an electroacoustic engineer working in the fields of electronics, acoustics and sound perception. His interest also includes physics, systems, contacts and psychoacoustics. He works on self-designed tools and experiments with music, based on abstract rhythms.
The second edition of Oscillation festival will take place as a 3-day radio marathon over the first weekend in May, in resonance with the International Day of Workers. In the absence of project funding, the format of radio offered us a possibility to nonetheless continue the festival and to use it as a framework to reflect on the notion of value in art and cultural organisation beyond the monetary. Radio has always been a favourite tool of autonomous, DIY and experimental practice; offering low-cost means of reaching people, diverse forms of expression, and new tools for thinking community, audience, and access. We want this year’s festival to be practical experiment in balancing responsible collaboration with an urgency to make space for things to happen.
Under the additional strain of collective lock-down measures, the festival has again adapted and will now take place entirely online. Formats were rethought where necessary as e.g. live streams, concerts-on-tape, focus radio-features, workshops via video-conference, and experiments in synchronised remote performance. In the necessary absence of a live-local audience, attention again folds out to a public dispersed in space. These new conditions created the possibility to draw on friends and contributors from other places, to see a wider spread of autonomous practices in dialogue with those in Brussels. In this way the festival can stay with the initial plan to be an open laboratory for near-continuous broadcast; a reflection on communities of producers and listeners, on making do, doing-it-ourselves, doing-it-with-others, and using what is at hand.