07/10/2019

Special edition of the program “Voices in the garden” with the journalist Alicia San Juan at the Open Doors day in Alhondiga Bilhao. We talked about what radio is for people, the experience of speech and listening with people who came to talk to us and talk about the radio.

07/10/2019

`Voices in the garden´, presented by the journalist Alicia San Juan, is another programme which consonni will be presenting during this last quarter of the year, where we will be talking with professionals from different fields who share reflections and exchange impression. Voices that talk, caress, discuss, answer and differ. Voices in a garden of critical culture.

This programme belongs to our particular radio station, consonni radio con AZ, which is part of the programme of Amphitryon Artistic Residences in Alhóndiga Bilbao.

Episode #13: Normality:
We move around the idea of ​​"back to normal" and we listen to Josune Muñoz, founder of Skolástica, the women's literature school. We talked with her about the fall courses scheduled for this year. We will also talk to Sara Fernández Altuna who will tell us about her academic projects for this September.

07/10/2019

`Voices in the garden´, presented by the journalist Alicia San Juan, is another programme which consonni will be presenting during this last quarter of the year, where we will be talking with professionals from different fields who share reflections and exchange impression. Voices that talk, caress, discuss, answer and differ. Voices in a garden of critical culture.

This programme belongs to our particular radio station, consonni radio con AZ, which is part of the programme of Amphitryon Artistic Residences in Alhóndiga Bilbao.

Episode #12 Fictions

'Voices in the Garden' has invited the scriptwriters Marta Gómez and Juan Flahn. They will be talking to us about their experience in this ever more visible profession. Is a good script the key to everything else working well?


07/10/2019

‘Cerca del cielo no se vive bien. Historias del éter’, presented by Xabier Erkizia, is another programme which consonni presents. It is a radio programme about the radio, and a proposal which reviews, through several characters of the twentieth century, not only the forms this medium has evolved into since its beginnings, but also the forms it could have turned into. It is also a forensic analysis of a means of communication which, in addition to proposing a new world model, has radically changed the way of understanding the body. In conclusion, a series of stories of the ether, written from the site.

Xabier Erkizia (Lesaka, 1975) is a sound artist, producer and curator. All his works are based on phenomenology in the context of sound and listening, and are developed through formal, aesthetic or political research, paying special attention to the geographical condition. He works or has worked as a co-director of the ERTZ (1999-2018) event and as sound department coordinator of the Arteleku Centre (2002-2014). He is the founder of the sound archive of the Basque Country soinumapa.net and is currently a member of the AUDIOLAB association. During the last few years he has been working as an invited professor in various schools and universities.

Episode #05. 'Silvia Guerrico (1905-1983)'

Shortly after birth, the radio established the parameters on which voice policies would be governed for a whole century. The radio, country and exile of incorporeal presences meant at the same time a constant laboratory and a kind of cage for those who believed in change through the ear. Silvia Guerrico (1905–1983), a Uruguayan journalist and writer, was one of the most recognizable voices during the early start of Argentine radio, and perhaps her first great victim. For her, it was said that women and microphones were not compatible

Credits:

Ahotsa / Voz: Tamara García Iglesias

- International Novelty Orchestra Collection: Only with you (Victor, 1928)

- Beatriz Ferreyra: Ecos (1978). Cultures électroniques 14 - 27° concours international

de musique et d’art sonore électroacoustique / série Imeb (UNESCO / CIME 2000)

- Las voces de la radio en Argentina (desde 1920 hasta los años ´70) https://

www.youtube.com/watch?v=FKfbNEUPdvk

- Carlo Buti: Canto per me (Columbia, 1935)

- Ada Falcón & Francisco Canaro y su Orquesta: Ilusión marina (1930)

- Orson Welles: The Shadow - The Hypnotized audience (1938)

- Mercedes Simone: Dímelo al oído (RCA, 1934)

- Roberto Firpo: Alma de Bohemio (1927) / Tango: Buenos Aires 1904-1950 (Frémeaux

& Associés, 2001)

07/10/2019

‘What would Barbarella do?’, presented by Arrate Hidalgo, is another programme which consonni presents. In this sonic space, the Bilbao feminist science fiction festival co-ordinator and translator Ansible Fest dissects the key topics on current feminism through science fiction. With scalpel in hand, she takes a speculative text and extracts the debate to look for its mutations in other fiction styles and in contemporary feminist thought. She is accompanied by the critic Laura Lazcano in her section dedicated to audiovisual.
Episode Nº 05 'A través del tiempo queer'

On the occasion of the LGBTQ + pride, which marked this past June the 50th anniversary of the Stonewall revolts, in this fifth episode we immerse ourselves in the speculative fiction that explores and practices what is queer. We start from Le Guin's classic The Left Hand of Darkness, and the limitations of this concrete reimagining of the genre, aided by Monique Wittig's The Straight Thought. We review gay urban genealogy in the work of New Yorker Samuel Delany and draw links between his writing and the queer and decolonial reflections of Hiromi Goto through what the theorist Jack Halberstam calls "queer time". Laura Lazcano brings us early examples of queer science fiction in the cinema of the 70s and 80s, the New Queer Cinema and its exponents, and tells us how transsexuality is reflected in current fiction. We also listen to some of the young bisexual voices of the current state-of-the-art fantasy and investigate the speculative potential of Spanish-speaking transfeminism thinking.