The invitation that the webSYNradio project extends, namely, to mine the UBUweb archives for source material for a playlist, is not an unfamiliar proposition : I have been looking to this site as a rich archival source for sonic obscurities on many past radiophonic adventures. the proposal to use UBUweb’s vast library as a constraint provokes the programmer to become a maverick archivist, to dive into the etheric sea, (as one does with the astounding resources still available via wwweb distribution in general, often without maps or guidebooks, under and apart from all moves to tighten this access), further and further into detail, and to emerge after this to link such details up into a personally-delineated travelogue, a field report, a narrative of links and gaps. As seems to be my tendency with lists in general, I have tended to steer clear of the airless metanarrative of the ‘top ten’, and perhaps approached the ‘desert island discs’ concept from the position of someone who would rather listen to the specificity, the temporal uniqueness of the island itself (whether that island be wilderness or urbanscape) than impose an artificial sound environment that flattens ‘what’s in the world’ to timeless spectacle, who seeks to reveal, rather than conceal. in this playlist my intention was to steer clear of the highways of sound in favour of the meandering byways, the fragile and the just-overheard, a tendency which is not unfamiliar to the artists here also, in their various ways. As vito acconci says in ‘Buildings’ : “we love cities, but we hate monuments. we love the city as a walk, but we hate the city as a triumphant march.” Sally Ann McInctyre

1./ Janek Schaefer : Recorded Delivery (1995 – 7” edit)

2./Vito Acconci : ‘Buildings’, from Interiors, Buildings, Parks (2004)

3./ John Cage : 49 Waltzes for the Five Boroughs “For Performers or Listeners or Record Makers” From “The Waltz Project”, Nonesuch D-79011 LP, 1980

4./ Erik Satie : Furniture Music, Part 2 : Tapestry of Wrought Iron : for the arrival of the guests – grand reception – to be played in an entrance hall

5./ Margaret Leng Tan : from Erik Satie ‘Pianoless Vexations’

6./ Language Removal Services : William S. Burroughs

7./ Louise Lawler : Birdcalls (1972)

8./ Alvin Curran : Natural History (1983)

9./ Gavin Bryars : Jesus’ Blood Never Failed Me Yet , from The Sinking of the Titanic (1975)

10./ Laurie Anderson : Two Songs for Tape Bow Violin

11./ John Cage : Imaginary Landscape #5

12./ Janek Schaefer : His Master’s Voices (1997)

13./ Yoko Ono : Snow is Falling All the Time

Sally Ann MacIntyre


Premières écoutes : à partir du jeudi 7 juin à 14h jusqu’au 22 juin, même horaire

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Sally Ann McIntyre est un écrivain, radio-artiste et praticienne du son originaire de Dunedin, Nouvelle-Zélande. Son travail, mené à Radio Cegeste ou au cours de résidences artistiques, oscille autour des thèmes de la spécificité du site, le nomadisme, le mémoriel non monumental, la collection de bibliothèques sonores, la phonographie, la muséologie, la matérialité hantée de vieux bâtiments et autres sites historiques, la psychogéographie,  l’histoire enregistrée et transmise par les oiseaux (parfois aussi comme une mise en son d’une identité NéoZélandaise), et la possibilité d’une écologie de la radio comme représentant  des systèmes instables …

Sally Ann McIntyre is a writer, sound practitioner and radio artist working out of Dunedin, New Zealand. She has a history in independent radio production for broadcasters, and also programmes the Mini FM station Radio Cegeste 104.5 as a small-radius platform for site-responsive radio art events. Her work oscillates around themes of site-specificity, nomadism, the non-monumental memorial, the collection of sound libraries, phonography, museology, memory, the haunted materiality of absent presence, old buildings and other historic sites, psychogeography, the performative fragility of small-scale transmission, bird migration and electromagnetism, the complex idea of ‘dead air’, the recorded and transmitted history of birdsong (sometimes also as a sonification of a New Zealand nationalism), and the possibility of an ecology of the radio that doesn’t represent unstable systems as functioning in eternal homeostasis. She has initiated projects in environments from the most remote to the most populous, such as ‘soundtracks for the city’, scoring urban Melbourne on inner city street corners with a portable record player by playing stacks of discarded library music on 10” disc from the channel 10 TV archives, to a set of recordings of gallery spaces destroyed in the 2011 Christchurch earthquake played back to an artist-run gallery space in another city about to lose its lease, to recordings of urban birds played back into an inner-city mall, to a series of EVP recordings of extinct native birds held in museum collections, transmitted back into remote wilderness areas of New Zealand bush.