<li>This work has been produced in the context of the graduation research of Angeliki Diakrousi from the Experimental Publishing (XPUB) Master course at the Piet Zwart Institute, Willem de Kooning Academy, Rotterdam University of Applied Sciences.</li>
<li>XPUB is a two year Master of Arts in Fine Art and Design that focuses on the intents, means and consequences of making things public and creating publics in the age of post-digital networks.</li>
<li>https://xpub.nl</li>
<li>Special thanks to my tutors, XPUB comrades and all my friends with whom I had interesting discussions that pushed my research further.</li>
<li>The work is licensed under a licence I will add at the near future.</li>
<li>The studies of Angeliki Diakrousi were funded through a scholarship by the <ahref="https://www.onassis.org/">Onassis Foundation</a></li>
<li>This work has been produced in the context of the graduation research of Angeliki Diakrousi from the Experimental Publishing (<div class="tooltip-wrap">XPUB<div class="tooltip-content-right"><div>XPUB is a two year Master of Arts in Fine Art and Design that focuses on the intents, means and consequences of making things public and creating publics in the age of post-digital networks</div></div></div>) Master course at the Piet Zwart Institute, Willem de Kooning Academy, Rotterdam University of Applied Sciences.</li>
<li>Special thanks to Christina Karagianni for organising together these inspiring workshops, Angelique, Fatima, Lidia, Dionne and other women from <div class="tooltip-wrap">Wereldvrouwen<div class="tooltip-content-right"><div>Wereldvrouwen Rotterdam Foundation does various social, educational and recreational activities for and by women from various cultures, many of them with a low income and low education level. One of their meeting points is Leeszaal</div></div></div> for participating in the workshops, and all the other participants who came in the beginning, but also the online participants who generously contributed with their voices to the website. More thanks to my tutors, XPUB comrades and all my friends with whom I had interesting discussions and tryouts that pushed my research further.</li>
<li>This work is licensed under the <div class="tooltip-wrap">Free Art Licence<div class="tooltip-content-right"><div>[Angeliki Diakrousi, Let's Amplify Unspeakable Things, 2019. Rotterdam].<br>
Copyleft: This is a free work, you can copy, distribute, and modify it under the terms of the Free Art License <a href="http://artlibre.org/licence/lal/en/">http://artlibre.org/licence/lal/en/</a></div></div></div>.</li>
<li>The last 6 workshops are part of <div class="tooltip-wrap">Women@Art<div class="tooltip-content-right"><div>(free translation) Wereldvrouwen Rotterdam Foundation does various social, educational and recreational activities for and by women from various cultures, many of them with a low income and low education level. Most women hardly ever come into contact with the world of Art & Culture. Participants are encouraged to develop with inspiring examples from the art world by visiting exhibitions / studios in the city. A number of female (amateur) artists give workshops on their own work. The aim is to make the world of art more accessible, to help women to develop their own creativity and to transform it into strength</div></div></div> and funded by the <div class="tooltip-wrap">Municipality of Rotterdam<div class="tooltip-content-right"><div>The municipality granted to us is a structural subsidy called Pitcher Perfect 010</div></div></div></li>
<li>The studies of Angeliki Diakrousi were funded through a scholarship by the <a href="https://www.onassis.org/">Onassis Foundation</a></li>
*This interview has been edited and condensed for clarity*
(...)
(...)
R: What I also like so much about radio, it really triggers fantasy. Or everything that is sound based. You don't see what is producing the sound. It includes the fantasies and imaginations of other people, who hear it. And that is something that is not that strong, of how I am, if I see a movie. The visual is also there. I can also dive into any cinema situation or TV or see something in a monitor, I don't mind. But I think this trigger of being more active is really the sound. That's why I keep loving doing radio. And its also much easier in the sense you need much less equipment and it is simply cheaper on all the levels, because there is so many things you dont need, so many things you need for visual.
R: What I also like so much about radio, or everything that is sound-based, is that it really triggers fantasy. You don't see what is producing the sound. It includes the fantasies and imaginations of other people who hear it. And that is something that is not that strong, if I see a movie. The visual is also there. I can also dive into any cinema situation or TV or see something in a monitor, I don't mind. But I think this trigger of being more active is really the sound. That's why I keep loving doing radio. And it's also much easier in the sense that you need much less equipment and it is simply cheaper on all levels, because there are so many things you don't need, so many things that you do need for visuals.
A: Also radio is connected with the physical space, you have to set it up. I wanted to ask you about that. How it was when you set up pirate radio. How was this experience?
A: Also radio is connected with the physical space: you have to set it up. I wanted to ask you about that. How was it when you set up pirate radio stations? How was this experience?
R: I mean one thing was, there has been I think at least three waves of pirate radio in Austria. We weren't the first one who tried that. But of course we did in a time.. we started doing it in the 1990s that the machinery was already quite small. It was simply easier to hide the transmitter, when it has the size of a cigarette pack. Cause the transmitter they used before it was much bigger and it needed more electricity. So, we had this small transmitter, which had five watch power, so it was really weak. It just reach parts of the city of Graz and then additionally we had a tape walkman to that. You have to think it's the beginning of the 1990s, so there is no mobile computers, accessible to us. There is no Internet, in the sense how we use it now. So everything is trouble, we use the imagination. We have this small cigarette pack size transmitter more or less. And we have this also very small walkman. Both can function with batteries, because it is also not very long time that we broadcast. And the antenna, it is a Yagi antenna, but it is not the fixed one. We used the ?clash? from a tent. So its foldable and then with aluminum stripes we glue the antenna on this clash. And we would hang the clash on a tree. We would go to one of the hills outside the city, surrounding the city. And we knew those who control the frequency band. You know you have the official administration for defining who is actually aloud to broadcast and then you have different bodies of administration that actually control what is happening in the frequency band and we knew where they are and we knew that they are constantly scanning what is happening in the band. The moment you switch on an additional transmitter they immediately see the pick and in a very short time- and I've seen them once doing it live- it takes them seconds to find out where you are. It is frustrating because 'chuck' (fingers sound) they have you. But then of course to actually catch you they have to physically go where you are. And we knew the time.. we always broadcast on Sunday noon, 1 pm, so we knew this is when people have this Sunday late breakfast/brunch think and they can listen to us and we knew that it would take the controlling body about 20 minutes to get from the place they are, a tower in the center of town, to go from there to the hill we were. So we had 18 minutes of broadcasting time and then we had to pack and disappear. That's what we did. So we did 18 to 20 minutes broadcast. And then you know, you just pack it in a little backpack, because it is so small, you can fold the antenna the two things are really small and then, you know. you are taking a stroll in a Sunday afternoon.
R: One thing was that there have been, I think, at least three waves of pirate radio in Austria. We weren't the first ones who tried that. But of course, we did in a time... we started doing it in the 1990s, when the machinery was already quite small. It was simply easier to hide the transmitter, when it had the size of a cigarette pack. Cause the transmitter they used before was much bigger and it needed more electricity. So, we had this small transmitter, which had five watt power, so it was really weak. It just reached parts of the city of Graz and then, additionally, we had a tape walkman to that. You have to think it's the beginning of the 1990s, so there were no mobile computers accessible to us. There was no internet, in the sense how we use it now. So, we use the imagination. We have this small cigarette pack size transmitter, more or less. And we also had this very small walkman. Both can function with batteries, because it is also not very long broadcasts. And the antenna, that is a Yagi antenna but not the fixed one. We used parts from a tent. So the antenna becomes foldable and then with aluminum stripes we glue the antenna on these parts. Then we would hang the antenna on a tree. We would go to one of the hills outside of the city. And we knew those who control the frequency band. You know, you have the official administration for defining who is actually allowed to broadcast and then you have different bodies of administration that actually control what is happening in the frequency band. We knew where they were and we knew that they were constantly scanning what was happening in the band. The moment you switched on an additional transmitter they would immediately see the peak and in a very short time – and I've seen them once doing it live – it takes them seconds to find out where you are. It is frustrating because 'snap' (clicks fingers) they have you. But then of course, to actually catch you they have to physically go where you are. And we knew the time... we always broadcast on Sunday afternoon, 1 pm, so we knew this is when people had this Sunday late breakfast/brunch think and they can listen to us and we knew that it would take the controlling body about 20 minutes to get from the place they were – a tower in the center of town – to go from there to the hill we were. So we had 18 minutes of broadcasting time and then we had to pack up and disappear. That's what we did. So, we did 18 to 20 minute broadcasts. And then, you know, you just pack it in a little backpack, because it is so small, you can fold the antenna, the two things are really small and then you are taking a stroll on a Sunday afternoon.
(...)
(...)
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