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In the aftermath of investigations that followed, it was found that poor (or nonexistent) regulation over the use of radio signals, especially those at sea, were partially to blame.
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The ones that it did get through to were either too far or too late.īecause of the ice, a few ships simply couldn’t come without risking their own hulls.
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That night there were huge amounts of chatter over the radio waves, and as the Titanic sent out its distress signal she found it hard to get through to other ships. One of those factors was communication and the complete lack of regulation over an international system. Thousands of lives were lost needlessly and not simply because the ship sank many factors aided in making that night a true tragedy instead of simply a failed voyage. I’m sure you all see where this is going so I will spare you further James Cameron-esque imagery and simply remind you that tragedy struck the luxury liner in the form of an iceberg, dooming what was thought to be an “unsinkable” ship. The year is 1912 and it’s a cold April night as the Titanic speeds its way through iceberg-infested waters in the north Atlantic. Despite the political and geographical diversity of its sources, careful listening to Radio Silence reveals some consistent musical patterns that stem from the common structure of grammar.RMS Titanic departing Southampton on April 10, 1912 By removing the words from the radio broadcast I invite the unconscious pauses to become new parasitic “performers” with their own formal language.
#Radio silence space tv
Historically it is situated along a trajectory of work that takes broadcasting as its muse, like Wolf Vostell's theories of dé-collage, Nam June Paik's magnetic TV manipulations, and Radio Net by Max Neuhaus.
#Radio silence space series
Radio Silence is my latest in a series of inquiries into reconfiguring mass media (linguistically, technically, culturally). The intersections between lines form a map of the dense polyrhythmic structure of the sound. The display shows a continuous “waterfall” of lines recording the timing of each note. The ensemble of smeared semi-words is broadcast into the exhibition space by eight loudspeakers arranged around a computer display. Each note is based on the recent timbre of its source, so the current qualities of each speaking voice are always reflected in the sound of the piece. (The original radio program is never heard by the listener.) The radios are tuned to a variety of local talk stations (public radio, religious broadcasting, weather reports, conservative talk, shortwave and amateur radio, etc).
#Radio silence space software
In Radio Silence, eight radio tuners feed their signals into custom software that detects each silent moment and replaces it with a unique “note”. It builds on the foundations of previous broadcast-analysis projects like Appropriate Response (2008 with N.B.Aldrich), Video Silence (2009) and Parallel Rhetoric (2004-2008). Poff writes:"Radio Silence explores the silent moments of talk-radio, using the cadences of different live radio personalities to compose an ongoing collaborative “performance” built entirely of negative space.