This cycle of audio short stories on the subject of migration was created during a long stay in Europe by the artist in 1996-7. 'It is in this new context that I learned the significance of of the word "foreigner" and what it conceals: absence of cultural reference, sharpened awareness of one's own identity and the ambivalent feeling of strength and precariousness associated with displacement.' Produced by SFB 3 & DeutschlandRadio, Berlin with support from the Arts Council of Canada.

Humour is one of the only ways to overcome the sense of both dislocation and alienation felt whilst travelling. This recording captures all three during a concert by diskono in the factory-like environment of gebaude9, Cologne. After travelling through 4 countries in 3 days, we were tired, hungry and confused. Our personal and professional relationships were at breaking point. In Cologne we dispensed with our set group improvisation and instead confronted the 'cool' crowd of Cologne with a 'conceptual' non-performance. They play the instruments - we watch. After this performance the members of Diskono turned their backs on each other; vowing never to speak or share the same railway carriage again. Klaus Oldanburg recorded some sounds on the way back home. Trams in Vienna, water fountains & Spanish waiters in St Gilgen, fireworks, bicycles and campsite babble in Amersee.

The first portion of 'dkdl' (00:00 - 03:06) was recorded at Gebaude 9 in Cologne on 5th August 2000 by Danielle Lemaire using a dictaphone. Edited by Klaus Oldanburg. The second portion was recorded by Klaus Oldanburg (using minidisc) in Vienna (3:07 - 04:39), St. Gilgen (4:40-7:36), Amersee (7:36-9:54). Edited by Klaus Oldanburg. Featuring voices of Aeron Bergman, Danielle Lemaire, Jan Van Den Dobbelsteen, Joel Ongthorne, Alejandra Salinas, Ttocshagg Forfib and numerous inhabitants of trams, bars, campsites and lakesides.

http://www.onoksid.freeserve.co.uk

listen

The post-Tape-beatle duo Public Works produced this audio work entitled Numbers in 2000, issued on a 9" transparent vinyl EP. The work traces a path through the strange world of 'numbers' radio stations and EVP. This is a journey into international espionage signalling and the 'other side'.

http://pwp.detritus.net

A selection from Border Reports, a series of sound works composed for Borderhack, an event which took place on the Mexico/USA border in 2001. Borderhack's mission to 'delete the border' was extended by transmitting sound pieces via a crude PA system while driving through the Tijuana/San Diego border. The name Border Reports comes from the AM radio traffic reports in San Diego that give the time required to cross the border. Drivers must wait in line and produce passports, but sound has no such barriers. The USA used radio for years to transmit the message of capitalism into communist states. Rather than attempt to indoctrinate, the Border Reports project aims to mobilize discussion and understanding of border policies that criminalize the poor and politically persecuted.

http://www.de-lete.tv/borderhack

Building/sines captures the performance of the Kraftwerk song The Model played by Joan Chia on the bells of the National Carillon, Canberra, Australia. The work examines new contexts for the performance of electronic music in manmade landscapes. Building/sines was made as part of the artist's Scottish Arts Council Australia Residency at Canberra School of Art in 2000.

http://www.calum.clara.net

listen

The extracts of this sound project presented here excavate a personal rather than institutional view of the contemporary history of Bulgaria's capital city, Sofia. Sue collected stories of the city's transformations from pre-World War II, through Communism, the fall of the Iron Curtain to today. The chimes of the Alexander Nevsky cathedral begin each track which continue with fragments of stories from residents of Sofia combined with urban sounds. Supported by the Fulbright Foundation and the Municipality of Sofia.

Three structured compositions constructed from found environmental sounds. Originally composed for the soundtrack to Chris's video 'Our Eye', where the artist re-visited sites around Scotland where his father, a keen amateur photographer and film maker, made family home movies. Supported by the Scottish Arts Council's National Lottery Fund.

A sound activated tape recording of a parcel travelling through post. Automatically edited during the 15 hour journey to a 63 minute recording capturing only the loudest parts of the trip. Created for the group show 'Self Storage', organised by Art angel and curated by Brian Eno at Acorn Self Storage centre, Wembley, London, 1999.

http://www.audiOh.com/releases/recorded_delivery.html

listen

Mark bought a hoard of old reel-to-reel audio tapes in a car boot sale, and compiled these fascinating audio 'snapshots' made by amateur tape recording enthusiasts: dates unknown but probably late 1960's or early 1970's. They speak of everyday life, family and times gone by, with a fair amount of humour at times. The full versatility of the medium is played out with documentary, story telling, audio postcards, 'mix tapes', advertising and even experimental electronic music.

The piece is inspired by the various soundscapes of the different places I visited in Europe during summer 1998. From a farm in North Wales and the sounds of Bangor, to the cities of London, Bratislava, Prague, and Munich. Within this piece I have tried to continue my interest in transforming one recognisable sound to another, and using this technique to 'travel' from one place to another. Composed in the Experimental Music Studio, Radio Bratislava and the Electroacoustic Music Studios at Bangor.

listen

Untreated field recordings from Weimar, Barcelona and Khartoum are layered to offer a sonic tryptich of mine and many a North European's psychogeography, formed in part by the symbols here angled and netted from the aural ether of my travels.

listen

An impressionistic soundscape is woven from field recordings made in Hong Kong, Hamburg and Hamilton, Scotland. 'I've become increasingly appreciative of enduring impressions arising out of transitory moments - using sound as a form of transportation.' Originally issued on The Architecture of the Incidental, 1999.

http://home.earthlink.net/~kenmontgomery

listen

Have you noticed that there are fragments of audiotape flapping in the wind? Strands can be found all over the world, in gutters, snagged on trees, wherever tape players have ventured it seems they have chewed, snarled and spat out. These fragments create a shifting inaudible soundscape that goes unnoticed. Some of the strands have travelled far, they are worn and battered but with careful attention and re-spooling, succumb to listening. The fact that music can cross boundaries is well known, but this is physical, it really does. As the Taliban ripped the tape from the cassettes of Kabul some of it, wind-born or caught on vehicles, crossed the borders that the people could not. Tape can migrate. Thousands of asylum seekers find themselves at Sangatte in France next to the channel tunnel as they aim ever West towards the UK. The European ring fence is unworkable and so we have borders within the borders: the people cannot cross. This would not be the first time that music has been exported and appreciated whilst the people are left behind.

http://www.magneticmigration.net

This project was an attempt to discover what Londoners think and feel about their city's rich and varied soundscape. Since 1998 many people have been asked the question 'What is your favourite London sound and why?' Many of the suggestions have been recorded and compiled as an audio CD, along with recordings sent in by Londoners. Some are deeply personal and others all-encompassing atmospheres. A selection is presented here. Your Favourite London Sounds was originally realised for the radio-art station Resonance FM, organised by the London Musician's Collective in 1998.