本周的Take X节目开始播放葡萄牙波尔图（Porto）的Miguel Carvalhais以radio，这个最老的广播媒介，作为母题的合辑Essays on Radio - Can I have 2 minutes of your time? 其中网罗了39位声音艺术家/实验音乐家的作品。作者从知名度较高的Pita, General Magic, Stephan Mathieu到葡萄牙本土的Pedro Tudela（和Carvalhais共同运营波尔图的实验厂牌Cronica）和Paulo Raposo（里斯本实验厂牌Sirr-ecords的创办人）。每人只给2分钟，即120秒。结果整体效果却出人意料地和谐（大家都很收敛），而不是天马行空。把39段曲子连在一起就是一首完整的接力作品。我也是这样播放的。播放表里没有指名道姓，似乎盲听更有乐趣。适合戴耳机听。

Carvalhais的个人背景也颇为有趣。他是波尔图美术学院设计系的一名老师，同时也是设计师和音乐家。其media-label Cronica关注和各种时基视听媒介的交流和实验。

每周六晚9点在Radio Take10。点这里收听。

Carvalhais关于本项目的介绍短文：

Essays on Radio aims to comment on the sound medium, on the technology and the culture of radio.

In the midst of media saturation, radio can easily end by being an overlooked medium, not only due to its lower visibility compared to most mainstream media but mostly because it is an un-visual medium. It is also one of the longer standing and of the oldest electronic media that is still alive, so the novelty factor is not a help.

Radio was the first broadcast medium, as well as the first that was sound-specific and intangible. Historically, radio was the primary responsible for an awareness of sound that went beyond the strict scope of music.

Radio is a saturated live medium, where much happens simultaneously. Having little or no control about the sources and the interferences during broadcast and reception turns radio into a medium where we can easily and objectively experience noise. Therefore, it was probably through radio that many first heard white noise. It was probably with a radio receiver that many first modulated noise as it was probably through radio that we experienced randomness along with the lack of control and indeterminacy.

This theme was intended to provide the artists with a starting point to approach the work. Unlike we did in the previous compilation, there would be no audio sources provided to the artists beforehand. In this release, what we were looking for were not exercises on composing from shaping any given sound matter but rather on relating the musical pieces to this particular context: Radio.

As a further way to coherently organize the CD, we asked all the artists to produce the pieces with a fixed duration. This symbolic length allowed us to fit work from some of the artists we released so far and a few selected guests and it also served as a strong structure binding all the compositions together. Given the fact that we are closing the 2nd year of Crónica releases, we proposed that all tracks should have the fixed duration of 2 minutes, exactly.

Therefore the sub-title: Can I have two minutes of your time?

It features compositions by: @c, Heitor Alvelos, Antmanuv, Gilles Aubry, Autodigest, The Beautiful Schizophonic, Heimir Bj.rgúlfsson & Jonas Ohlsson, Boca Raton, Cáncer, Miguel Carvalhais, Lawrence English, Christine Fowler, Freiband, ákos Garai, General Magic, Pawel Grabowski, John Hudak, Vitor Joaquim, Gintas K, Longina, Luis Marte, Stephan Mathieu, o.blaat, Ok.Suitcase, Pal, Pimmon, J.rg Piringer, Pita, Pure, Random Industries, Paulo Raposo, Pablo Reche, James Eck Rippie, Sumugan Sivanesan & Nick Dan, Ran Slavin, Steinbrüchel, tilia, Pedro Tudela, Durán Vázquez.

右边的那个就是Carvalhais。

web2.0的tag关键字的应用关联了事物使其得以类聚（clustering）。现在用的flickr和四年前用过的ofoto不同的是它可以用作回声探测器。比如这位filipeb用lomo拍的（下图左）葡萄牙波尔图市由库哈斯设计的Casa da Musica和我在车上的快拍（下图右）有点相似，不同的人物共同定义了音乐厅门前的广场空间。

更多在葡萄牙拍的照片在这里。

在书架一角尘封的CD中为朋友找婚礼场景所需要的音乐。结果却重听了Hello Cleveland!。是英国人Martin Virgo在97年做的采样拼贴功课，也是5年前take10播放表中的重要曲目。UCLA的音乐杂志Echo曾在2002年春季刊刊登了纽约Eastman School of Music的Sara Nicholson的一份报告，详细研究分析了这首作品。还有人如此认真地“听写”音乐的。

摘录如下：

...

4. However, the structure and content of Mono's music seems incongruous with Virgo's own language. For example, a fog of confusion could engulf the listener upon hearing "Hello Cleveland!," the tenth track of Formica Blues—a song that on the surface sounds homogenous yet paradoxically presents a heterogeneous collage. In a single, instrumental song that lasts under five minutes, Mono samples Luciano Berio's Sinfonia, Anton Webern's Six Pieces, Op. 6, Arnold Schoenberg's Op. 16, and Alban Berg's Lulu Suite, presumably some of the "most played records in his collection."

5. "Hello Cleveland!" begins with an ascending guitar arpeggio punctuated by the strike of a triangle. Although possibly inspired by a moment in Webern's Six Pieces, this introduction is not a sample but of Virgo's own creation.1 Several seconds into the song, a solo piano enters with material that, although newly composed, sounds strikingly similar to Erik Satie's Gymnopédies or Gnoissiennes. A drumbeat in five-four meter accompanies this piano part, which Virgo loops for
almost a minute. At this point, he introduces the aforementioned samples, beginning with a one-second sample of the fifth movement from Berio's Sinfonia. The samples repeatedly follow each other, often punctuated with the one-second Berio sample, until the last minute of
the song when the drumbeat ceases and Virgo loops a newly-composed chord progression played on a piano (again reminiscent of Satie) for the final minute of the song. (See Table 1 for a listing of the samples' origins as well as their placement within the original work, and their placement within "Hello Cleveland!")

...

Table 1: Samples Used in "Hello Cleveland"

Starting Time Composer Piece, movement Alterations Made
1:14 L. Berio Sinfonia, mvt. 5
1:24 L. Berio Sinfonia, mvt. 5
1:34 L. Berio Sinfonia, mvt. 5
1:34 L. Berio Sinfonia, mvt. 2
1:43 L. Berio Sinfonia, mvt. 5
1:43 L. Berio Sinfonia, mvt. 2
1:53 L. Berio Sinfonia, mvt. 5
1:53 A. Webern Opus 6, mvt. 1 marimba chords repeated three times
1:55 A. Schoenberg Opus 16, mvt. 4
2:03 L. Berio Sinfonia, mvt. 5
2:03 A. Webern Opus 6, mvt. 1 marimba chords repeated three times
2:05 A. Schoenberg Opus 16, mvt. 4
2:10 A. Berg Lulu Suite, mvt. 1
2:13 A. Webern Opus 6, mvt. 2
2:18 L. Berio Sinfonia, mvt. 5
2:23 A. Webern Opus 6, mvt. 2
2:28 L. Berio Sinfonia, mvt. 5
2:33 L. Berio Sinfonia, mvt. 5
2:33 L. Berio Sinfonia, mvt. 2
2:43 L. Berio Sinfonia, mvt. 5
2:43 L. Berio Sinfonia, mvt. 2
2:52 L. Berio Sinfonia, mvt. 5
3:00 L. Berio Sinfonia, mvt. 2 beginning fragment of the above sample
3:02 L. Berio Sinfonia, mvt. 5
3:19 L. Berio Sinfonia, mvt. 2 beginning fragment of the above sample
3:22 L. Berio Sinfonia, mvt. 5

久违的take x - be uncertain 不一定特别节目（不一定的内容和不一定何时更新）又更新了。10月27日，坚持了49期的由伦敦实验厂牌 sijis 主持的down with the chairman电台节目终于在 resonance fm 告一段落。最后一期名为 best of best of best bye bye。不过，take10不会袖手旁观的。找来第14期重新送上空中。每周六晚9点到10点。

点击这里收听。

曲目：

1. Gwyneth  J_torrance  sijis 
2. nehmen sie ihren verlausten  m  use  fasl.ch 
3. postanarchist snakes entering the triad  z_spavatsky  let us play 
4. numerically unstable  833-45 remixes Morceaux_de_machines  no type 
5. them dub us back  dick richards remixes claudia bonnarelli  no type 
6. Wildwood Flower  The Carter Family  Archive 
7. elastic science camp-gadget dick-monster vaughn bonarelli kanovalx-oeuf  ElasticLego  no type
8. Etwas Entfernt Vom Mikrofon  Sven Ake Johansson  Epitonic 
9. flabbaiiiiii  sluggo  sijis 
10. lush_lover  Jay Haze  textone 
11. the cosmic foot  lutsch symphonic orchestra  fals.ch 
12. Father_Nature  Robin Porter  Epitonic 
13. Old Joe Clark  Tom Joad  archive

一组6张从上空拍摄的科隆街头影像。介于真实与虚拟之间。低清晰度的画面和近似点阵化的人物独创 organic pixel art 的风格。创作者是由 jonas grossmann 主导的 env-design。同时他也是 source records 的创建者之一。又一个毕业于科隆媒体艺术学院的新影像挖掘者。这组影像已被用于本人今年最喜欢的一张专辑 studio pankow - linienbusse 的 sleeve design 中。