Dear Rasa,

I sent in a proposal for the reader, but couldn't
complete the article in time for the old deadline. the
new deadline, on the other hand, makes it possible.
but before i work on that article, were you interested
in the proposal? and if yes, what kind of length (# of
words) are you looking for?

I'm including the proposal again below...

thanks!

Best,
Anna Friz


"The Clandestine Transmissions of Pirate Jenny"

Like many artists, I began listening to the
in-betweens of radio purely by accident. I began
wondering what kinds of coded language (deliberate or
random) could be embedded in the rash of static, what
kind of worlds were perceivable radio signals, and was
inspired to return to an old fantasy about where radio
comes from.     

When I was young, like many children I half-believed
the voices emanating from the radio were the voices of
little people who lived inside. Turn on the radio, the
little people begin to talk; change the station and
they change their voices. I imagined the radio to
contain a miniature theatre in which the people
performed whenever I wanted. But perhaps there is
dissent brewing in Radioland. Working conditions have
certainly not improved in the past decades; with
downsizing of both the crew of people in each radio
and in the physical space (as radio technology allows
for increasingly compact radios), there is only one
person per radio who is responsible for all the
voices. What if one such person, sick and tired of our
listening whims, decides to take action? What if she
attempts to communicate with other radios, dreaming of
a secret radio relay network linking clock radio to
car radio to walkman, while we, the dictatorial Ears
in charge of the dial, are inattentive, absent, or
asleep? 

The Clandestine Transmissions of Pirate Jenny evolved
from this fiction into a sound piece for pirate
broadcast, broadcast from various locations in
Montreal in 2002 on a 1-watt transmitter. The article
that I am proposing would include some analysis of
Pirate Jenny, as well as methodologies and concepts
that arose from the process of creating the character
and the piece. In particular, I am interested in what
meaning can be derived from deconstructed and detuned
signals, from radio interception that delights in the
eloquence of static, the delirium of crossed signals
and amplified interference.  Through an active process
of listening between the lines (or what I refer to
as"détunement"), I begin to explore the ontology of
radio and the resonant subjectivity that characterizes
the radio subject.





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