Ars Electronica
Ars Electronica 2002
Festival-Program 2002
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Festival 1979-2007


open air

on line—on air—on site
radiotopia is the formulation of an acoustic utopian principle:
to be able to have to do something, to simply do it, or to create—completely removed from such problematic considerations—acoustic reality; to be dependent upon the powers of a major-key triad, a waltz rhythm, or a telephone line—there’s a place for it all in the radiotopian network.
Participation can be in the form of:
INPUT—you send your music, sound files, stories, scores, voice into the network. TRANSFORMATION—you constitute a node of the network and mix together incoming signals, process and disseminate them ...
OUTPUT—you have at your disposal the possibility of broadcasting incoming signals (radio station, concert hall, Internet café, public address system ...)
All media suitable for transmitting acoustic information can be utilized to participate:
ISDN live hook-up, MP3 streaming, telephone, CD, tapes, sound files, scores or texts submitted via fax, letter, e-mail, on a postcard ...
Any combination of the three elements is permissible and welcome.
(rupert huber)
Klangpark 2002—Open Air Soirée
Open Air—a radiotopia, a space created out of radio waves and data bits as a global network of artistic communication ... streams of sound, voice and music whose paths cross simultaneously at multiple locations, where they are remixed and continue their journey in the company of new traveling companions, or mingle as virtual sound-tourists amidst the local soundscape.
The Klangpark is Open Air’s acoustic projection space in Linz, the central source from which the World Wide Waves with 160,000 Ws are propagated throughout the urban domain of Linz—45 hours of live soundtrack played by the remixers and network jockeys on Open Air’s globally networked stage.
The network materializes for festival visitors in Linz at the soirée on Tuesday evening. Live remote hook-ups, conference calls, concerts and performances—on line—on site—on air.
(Gerfried Stocker)
The Long Night of Radio Art
In line with this year’s “Unplugged” theme, ORF Kunstradio is incorporating a “Long Night of Radio Art” (Sept 10–11, 2002 11:00 PM to 5:00 AM) into the on air—on line—on site network project Radiotopia. The “Long Night of Radio Art” will highlight vocal submissions in order to further diffuse underrepresented voices, and will incorporate live streams, shortwave signals, prerecorded submissions, telephone messages and text submissions into its program. During the six-hour broadcast, the in-studio artists in Linz will act as mediators—listening to the submissions archived online and adding live streams and broadcasts in order to craft a radio flow made up of many voices, languages, and sound environments, allowing the original contributions to speak for themselves, while providing an interpretation through the contrasts and juxtapositions of the submissions.
(Anna Friz)

“Kunstradio” emancipated itself long ago from the concept of radio, and now develops its projects in the tradition of telecommunications art of the ‘70s and ‘80s. As a result, conceptions of what “radio art” can be and the issues it can address have undergone a total transformation. The path of transition from Radio Art Night (1989) to projects like Horizontal Radio (1995), Rivers & Bridges (1996), Recycling the Future (1997) and Sound Drifting (1999) documents this interrelationship with telecommunications art that ultimately reflects the overall development of new communications media. With respect to artistic productions in and for radio, this also means that in their partnership with media technologies of cultural communication and information, these productions can no longer constitute a discrete entity; rather, elements of the traversal of boundaries and hybridity are inherent in them. As this has gone on, radio often constitutes only one (specific) “window” among many providing a view of the temporary and constantly changing way such projects oriented on many different media manifest themselves.
(Reinhard Braun)

Translated from the German by Mel Greenwald

Open Air—a Radiotopia
Open Air—a Radiotopia Artistic direction: Rupert Huber

Radiotopia Community: Alexander Balanescu, August Black, Isabella Bordoni, Andres Bosshard, Martin Breindl, Lorenzo Brusci—Timet, Emap.FM—Internet R@adio, Anna Friz, Hans Groiss, Markus Hammer, Hubert Hawel, Alois Hummer, Ina Ivanceanu, Ceyda Karamursel, Silvia Keller, Lukas Ligeti, Norbert Math, Dimitry Nikolaev, Michael Nyman, Daiya-Gerda Resl, Radio Educación Mexiko, Radio New Zealand, Joachim Schnaitter, Thomas Schneider,, The Trinity Session (_sanman, The | Premises), Andreas Strauss, Fujui Wang, Sandra Wintner, Elisabeth Zimmermann

The idea of this project was shaped in many discussions between Rupert Huber, Gerfried Stocker, Andres Bosshard, Elisabeth Zimmermann
Renée Gadsden came up with the name “Radiotopia”.
August Black came up with the name “Open Air”.
A cooperation of Ars Electronica and ORF Kunstradio.
Klangpark is sponsored by OMV.