Borderline Festival 11 | 3rd Day

16:00-23:00 | Back of House

Radio Crawler – a sound installation by MIZI

“Radio Crawler” is an ongoing, open-ended, experimental radio art project. It is a custom software framework and a multiform iterative piece that aims to explore and resurface the technology, concepts, and content of the declining medium of shortwave radio. The software algorithmically controls and mixes four instances of the online shortwave receiver located at the University of Twente. A meta-radio is generated live through the blending and mixing of the radio transmissions. The emergent radio is narrowcasted on four micro-FM transmitters and then received by an assortment of “wounded” analogue radios.

The combination of the analog shortwave with the newer technology of SDR (Software-Defined Radio) forms a unique, amalgamated medium with mixed properties. “Radio Crawler” probes the high frequency band revealing ham radio transmissions, Morse codes, NAVTEX, encrypted messages, commercial radio transmissions, jammers, and time-signals, among many other unique transmissions.

Free admission

17:00 | Galaxy Corner

The use of radio in contemporary sound art practices and performances – a discussion panel with Hardi Kurda, Georgios Mizithras (MIZI), and Danae Stefanou

What’s the use of analog radio nowadays for artists following the new music trends? Hardi Kurda and Georgios Mizithras (MIZI) insist on the creative use of radio and discuss with Danae Stefanou the particularities of a medium that, although extinct from our everyday life, is still relevant in the arts.

Free admission | Reservation is required

18:00 | Dourgouti Park (Basketball Court)

The Bike Ensemble - Daniel Davidovsky with a group of students from the Music School of Pallini (Students coordination: Valia Christopoulou)

The composer Daniel Davidovsky turns bicycles into musical instruments. Using custom microphones and sound processing pedals, the Israeli artist composes weird musical works drawn from the mechanical and repetitive sounds produced by the several parts of the bicycles.

Free admission

19:30 | Main Stage

Sofia Zafeiriou

The musician and sound artist Sofia Zafeiriou will present an anti-spectacular composition of quadraphonic electronic sound, openly pursuing the multiple.

Thomas Ankersmit

Ankersmit explores different ‘modes’ of listening: not just which sounds are heard and when, but also how and where sounds are experienced (in the room, in the body, inside the head, far away, nearby). So-called otoacoustic emissions (sounds emanating from inside the head, generated by the ears themselves) play a prominent role. When turned up loud, the material moves beyond the loudspeakers and starts to trigger additional tones inside the listener’s head; tones that are not present in the recorded music. Cupping the ears with the hands and slight movements of the head also help to bring these tones to life.

Free admission

21:00 | 4th Floor Foyer

Illegal Performance by Duo Moment (Hardi Kurda & Khabat Abas)

What does 'illegal' mean from an artistic perspective? With all the rules that make up our everyday life, how can sound and music contribute to a space of freedom? With the use of the instruments made by Hardi Kurda (Interactive Radio Antenna, Radiola Springs) and Khabat Abas (Shellbomb Cello), “Illegal Performance” reflects on those questions through stories of Immigration and War that immerse local culture, calling us to rethink and relisten to related materials and sounds. Perhaps this can function as an analogy for a more complex and nuanced image of today's social and political challenges. “Illegal Performance” is a project by Kurdish-Swedish composer and researcher Hardi Kurda, founder of Space21 and partner of Borderline Festival 2022.

Free admission

21:30 | Upper Stage

George Moraitis presents Finis Terrae

George Moraitis’s new composition reflects upon the perception of the sonic environment of the Mediterranean basin. The Mediterranean basin could, thus, be described as a geological formation, more precisely a sonorous cavity of multiple resonances: the basin seen as source and at the same time as effect of resonances. An echo chamber in which sound reverberates, generating multiple nuances of feedback, return, boundness and offering. Like an interplay of mirrors in which every act or object is multiplied and even distorted. Sound appears to be a credible metaphor of the real. What, then, is the sound of this basin? How would the sound of that geocultural reality be like? Wouldn’t it be an audio spacetime where highly diversified means of transition link a type of material to another, a space characterized by a varied gradation of mutations, interplays, overlaps, crossfading, sudden shifts, and hidden junction points?

Rojin Sharafi

The Iranian artist Rojin Sharafi’s approach to the electronic means of sound composition and processing is characterized by a new and ‘fresh’ perspective, one that does not distinguish between vintage and digital sound or even between musique concrète and dance. Probably freed of the Western electroacoustic tradition burden, Rojin Sharafi’s music looks to tomorrow, expanding the experimental electronic sound horizons.