#nsota

[usmaradiomagazine]

ON AIR - Thursday 20 March 2025 at 7:00pm (CET) - usmaradio.org 𝐒𝐏𝐑𝐈𝐍𝐆 𝐄𝐐𝐔𝐈𝐍𝐎𝐗 𝐈 𝐖𝐀𝐍𝐓 𝐓𝐎 𝐄𝐀𝐓 𝐓𝐇𝐄 𝐄𝐀𝐑𝐓𝐇

A sonic almanac from the New School of the Anthropocene

NSOTA is a radical experiment in alternative education, away from marketisation and arcane specialism towards co-sensing systems change through creative practice This is an ecological transmission of DIY ethics, non-hierarchical structures, radical networks, interconnected sensing through sound, text, voice, spoken word, human and more-than-human collaborative practice, patchwork group thinking, and radio art.

This episode is created for the March equinox, a time where northern and southern hemispheres experience equal amounts of dark and light, night and day, before tipping towards or away from the sun. The piece is curated and produced by Stephen Shiell and composed using original and borrowed material from NSOTA scholars.

Scholar contributions:

Stephen Shiell radio dowsing composition, playing with EVP Hannah White ‘Equal Breath’, a text score for the equinox David Lea Harringay Nocturne: An Ultrasound Medley - performed by Common Noctule, Lesser Noctule, Serotine, Daubenton’s Bat, Common Pipistrelle and Soprano Pipistrelle. Recorded in Harringay, London Chris de Sel Spring Radio from Vauxhall City Farm with India on a train, a collection of recordings from 2014 and 2025 Stephen Shiell composition of bike and dome bells, ringing in the Spring Sk.ye cut up poem snatched from various texts Venetia Allen ‘We don’t even know’ an elegy for the world we are losing Rhona Eve Clews ‘Weirdos in the same ways/ his cobra move’ voice note from Fiona  Hannah White toning the ‘Equal Breath’ score Pascal Sleigh Earth to Earth, composed on Lossenham Farm. The kind work of the people there and the resources they so thoughtfully shared enabled this music-making to happen. This composition is generously played by: Hugh Webb - harp, Melanie Henry - flute, Nick Cooper - cello, Sam Bailey – piano Rhona Eve Clews climbing the stairs of Bidston Observatory Artistic Research Centre (BOARC), whilst in Liverpool, thinking about the comings and goings of winter and spring Rhona Eve Clews ‘Bells of Oda Park’ audio recording, Netherlands, recalling birdsong Naomi ZP Three moments of Kama Muta Simon McClelland Morris The Church of Matt Johnson, following on from the Neon Valley concept album No Boundary, a sonic response to the idea of the parish boundary, The Church of Matt Johnson speaks instead of freeing the confinement of a boundary (under the guise of a god). Instead offering us the idea of a church to anything and all that captivates our spirit and invigorates the heart. https://theneonvalley.bandcamp.com/album/post-poetry-blues Rhona Eve Clews ‘My first ever snog’ voice note from Sarah Rhona Eve Clews feet descending the stairs, BOARC Hannah White “Co-sensing with Radical Tenderness” a reading from Vanessa Machado de Oliveira’s ‘Hospicing Modernity’ Stephen Shiell Tocante drone, powered by light and moisture from my skin Rhona Eve Clews ‘Latvia melts’, water as it passes through melting icicles and gutters, Riga Michelle Watson Wonderest Manifesto, written by Moksha Poetess (Michelle Watson) performed by Moksha Poetess and Tommy Calderbank, music production by Massimo Fiocco Stephen Shiell field recording of Festival de Santa Maria, Giari di Gesturi, Sardinia Rhona Eve Clews me recording a natural spring on the borders of Wales Blanc Sceol recording of ‘Equal Breath’ with harmonicas and parakeets

[newsnigeria]

Check out New Post published on Ọmọ Oòduà

New Post has been published on http://ooduarere.com/news-from-nigeria/breaking-news/ifa-naa-ki-bayi-wipe-4/

Ifá naa ki bayi wípé..

Ekaaro eyin eniyan mi, aojiire bi? Aku ise ana o Eledumare ninu aanu re yio fi ire gbogbo wa wari loni o Àse. Ifá yi gbawa niyanju wipe ki a bo ifá pelu obi meji ati agbebo adiye, ki a si se akose ifá yi ki a fi sin gbere si orokun wa mejeeji yika, ifá ni oun koni jeki a rogun ejó o, ogun wahala koni je tiwa, ifá ni ejo yi yio fe sele laarin awa ati eniyan kan tabi egbe si egbe, ifá ni mura nibe ki a ma baa sewon tabi gbere itiju o. Ifá naa ki bayi wípé:

“Otín ni otín ejó” Obì ni obì ìmòràn  Emun àìrírí ni emun àràjoòjo A difa fun kéreré ìpàpò a bu owo kan fun àgbàgbà ìpàpò lojo ti won nlo si ikunle ejó, àwon méjèjì ni won jijo nbarawon ja ti won nbarawon nsota, won ni ki kéreré ìpàpò rúbo nitori ki won baa le segun àgbàgbà ìpàpò, won ni ki àgbàgbà ìpàpò náà rúbo nitori ki won baa le segun kéreré ìpàpò, obi meji, agbebo adiye ati apolukuluku sugbon kéreré ìpàpò nikan lo rúbo ti won si sin gbéré ifá funwon, àwon àgbàgbà ìpàpò mawo niro won pesu lole won koti ogboin sebo, kee pe seni won ranse si àwon méjèjì lati ile olofin wípé ki won wa ro ejó enu won, nigbati àwon méjèjì dele olofin won duro won koju sira won, àwon kéreré ìpàpò ro ejó bee náà ni àwon àgbàgbà ìpàpò ro ejó sugbon ejó enu kéreré ìpàpò nikan ni olofin gbo, kéreré ìpàpò nikan ni won da lare won si segun àgbàgbà ìpàpò, àwon kéreré ìpàpò wa njo won nyo won nyin babalawo àwon babalawo won nyin ifá, ifá nyin Eledumare won niti won gbo riru ebo ti won rúbo ti won gbo eru atukesu ti won tu ti won si gbo ikarara ebo ni hiha ti won si ha, nje riru ebo a maa gbeni eru atukesu a maa da ladaju ko pe ko jina ifá wa bami larusegun arusegun ni a nbawo lese obarisa. 

Àwon kéreré ìpàpò wa fiyere ohun bonu wípé: Ojó ti mo bawon ru mo ro mo segun o ojó ti mo bawon ru mo ro mo se won  Ogun ki nja ko ja kéreré ìpàpò oni ni maa ro masegun Òrúnmìlà ni to ba se bi ise ti akápò toun ni, oni sebi adiye ki ni orókún ejó  Oni sebi oju kan ni apolukuluku njoko si njare oloko.

AKOSE IFÁ NAA: Leyin igba ti a ti fi adiye naa bo ifá tan, ao ge orokun won lotun losi ti ibi oju orokun naa yio wa laarin, ao ge ojuke ewe apolukuluku naa bee die, ao lo papo mo orokun adiye mejeji naa ti yio kunna daadaa, ao fi iyerosun teye ifá yi soju opon ao pe ifá yo si ao se adura si, ao da iyerosun naa si eleyi ti a lot yen lori ao po papo, ao fi sin gbere yika orokun wa mejeeji. 

Eyin eniyan mi, mose ni iwure laaro yi wípé Eledumare koni jeki a ri ogun ejó o, ao segun gbogbo ogun toba doju kowa ako ni ri inira ninu odun yi lase Eledumare aaase.  ÀBORÚ ÀBOYÈ OOO.

Sponsored by Oba Edu Faniyi Osagbami‎ in Àṣà Yorùbá

…

Good morning my people, Hope your night was greatly enjoyed, I pray as we are going out this morning that Eledumare will bless us with an abundant goodness Àse.  It is Otua meji corpus that revealed at oke itase ile-ife during the world ifá festival, ifá advised each and everyone of us to appease ifá with two kola nuts and hen, and ifá medicine must also be done for us, ifá said he would not allow us to be in trouble of being facing a legal case with someone or other party, ifá said we must complied with advice so that we may not be jail or put to shame over the case. Hear what the corpus said:

“Otín ni otín ejó” Obì ni obì ìmòràn Emun àìrírí ni emun àràjoòjo It cast divided for younger people of ìpàpó and elders one when the both were quarelling with each other, younger people of ìpàpò were advised to offer sacrifice so that they can conquer the elders one, also, an elders one of ìpàpò were advised too to offer sacrifice so that they can conquer younger people of ìpàpò also, two kola nuts, hen and apolukuluku leaf but it was younger people of ìpàpò that complied with sacrifice and ifá incision medicine was prepared for them, the elders of ìpàpò refused to offer the sacrifice ,not too long the case was charged to the king’s house to do judgement between the two parties, when the both parties reached king’s house they stood separately facing each other, the king asked the younger people of ìpàpò to speak out their minds followed by the elders of ìpàpò too, and each of them spoke out their minds, but it was the speech of younger people of ìpàpò that king listen to, the case favoured the young people of ìpàpò, that is how they conquered the elders one, the younger people of ìpàpò started dancing and rejoicing praising their priest, their priests were praising ifá while ifá was praising Eledumare. They started singing the song of ifá that: A day that I faced judgement with them I was victorious  A day that I faced judgement with them I conquered  A war never wage and wage off younger people of ìpàpò.  It is today I will speak out and conquered Òrúnmìlà said if it is for his own diviner, hen do never kneeling for any judgement It is the spot that apolukuluku sat on, that used to conquered the farm owner. PREPARATION OF THE IFA MEDICINE: After we have use two kola nuts and hen to appease ifá, you will cut both ankles of the hen in the sense that the joint of the ankle will be at middle, you will also cut some ankles of apolukuluku leaf too, then grind it smoothly, mark iyerosun of this corpus on ifá tray and chant this verse and pray, put iyerosun to that medicine, then mix it together and make an incision on both knees and use the medicine to rub the incisions. My people, I pray this morning that may we never experience any case, may we never be jail in life, and all problems shall be solved.

[proteafirefan]

ConnyMikateko

RT @wamhani92: @326Thwii Ami nwexe @ConnyMikateko na Mina ni jahe kuvona #ProteaFire and wa nandzika ingari munhu ita landza wa Nsota

[usmaradiomagazine]

ON AIR - Saturday 21 December 2024 at 7:00pm (CET) - usmaradio.org ‘I want to eat the earth’

A sonic almanac from the New School of the Anthropocene

NSOTA is a radical experiment in alternative education, away from marketisation and arcane specialism towards co-sensing systems change through creative practice.

This is an ecological transmission of DIY ethics, non-hierarchical structures, radical networks, interconnected sensing through sound, text, voice, spoken word, human and more-than-human collaborative practice, patchwork group thinking, and radio art.

This episode is created for the December solstice, a time of extreme dark or light in either direction, a hunkering down in the wet earth or a baking out in the hot sun. The piece is composed by Stephen Shiell using original material from NSOTA scholars.

Scholar contributions:

Stephen Shiell - with guests Rina and Laura

A piece created as part of Camp FR’s ‘Free Radio Pyrenees’ residency, including Stephen's field studies from Mount Agnes (Stephen P McGreavy BBB-4 VLF receiver), hydrophone recordings from the River Garbet and the town pond (David Rothenburg hydrophones), field recordings of a water viaduct (Lom Geofon), a duet with a thyme bush full of pollinators and a bullroarer, exploring the vibrations of this early transmission device, a nighttime thunderstorm (Lom Usi-Pro omni-directionals).

Rina sounded the ski lift using a geophone with personal interactions, and Laura mixed found sound from a tourists camping trip or the area, with voice and synth.

Rhona Eve Clews chats symbolic teeth, mouths and lipstick dreams with artist friends, plays ukulele on Christmas eve, recalls a Fijian airport in December, and completes the solstice session with the OOO of fireworks in Montreal.

Stephen Shiell field recording of a pile of wood ants, Dartmoor

Chris de Sel ‘Cold War Autumn Regime’ - on a walk from Battersea to Blackfriars bridge, from angst about a climate crisis to a preoccupation with geopolitical power struggles. 

Sk.ye recites ‘a extract from ‘Notebook’ a work in progress, and plays a clarinet rendition of a fragment of music composed by Rahsaan Roland Kirk

Lu(Lu)Lu ‘There was beauty to their strange distortion’, a piece inspired by the shifting balance in darkness and light at this time of year

Blanc Sceol (Stephen Shiell & Hannah White) ‘We go on together’, a melancholy lament for our times born of collective and personal grief

Stephen Shiell field recording of frogs, beetles, larvae, boatman, caddis fly, plant photosynthesis from a pond Saint-Aignan in France

Clare Whistler recites her poem ’52 Accords’ from ‘Accord’ an Eco Body collective project

Michael Timmerman creates a sonic space where technics, the world of insects, birds, rain, thunder, searching and fleeing human steps and the poetry of Paul Celan interact in ways that is unlikely to provoke a unified response. The opening chord progression may be just that – a kind of hope for progress. But it is also melancholic. Unfinished. Not progressing, just fading. There is possibly also horror, dismay. The sax just repeats as if it could move on to a melody or something else uplifting. That initial note may be all we have.Simon McClelland Morris ‘Beating the Boundary’ is a sonic response to the idea of the parish boundary – a semi-fictitious territory that acted as a demarcation line for the church and head family in the parish, and a way of control and extraction from people within the boundary line

[proteafirefan]

Dumisaningobe13

RT @wamhani92: @326Thwii Ami nwexe @ConnyMikateko na Mina ni jahe kuvona #ProteaFire and wa nandzika ingari munhu ita landza wa Nsota

[proteafirefan]

wamhani92

@326Thwii Ami nwexe @ConnyMikateko na Mina ni jahe kuvona #ProteaFire and wa nandzika ingari munhu ita landza wa Nsota