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Session Details
How to Pitch
with Paul Ingles
This session will cover how to successfully pitch your radio works to acquirers of independent work. The elements of a strong story pitch will be explained and other strategies will be offered for getting your work heard.
Beach Keening: A Wake in Sound (performance & talk)
Due to unforseen circumstances, Andrea Dancer is regretfully unable to participate in this year's RWB conference.
with Andrea Dancer
This soundscape-poetry performance, a piece of ec[h]o-theatre, is situated on an abandoned First-Nations site on the Gulf Islands. It explores how poetry reconstitutes place through sound and rhythm; how sound reasserts place in spoken word; and its use in the radio feature as art form. An elucidating talk follows.
Listening to radio soundscapes
with Andra McCartney
Participants will hear short excerpts from two examples of Outfront shows using soundscape recordings (Shut up and listen, and Eavesdropping on the Waterfront), and discuss different approaches to working with soundscape on radio. Participants are encouraged to bring short excerpts (up to two minutes long) of soundscape recordings that they would like to use in radio work, for discussion during the session.
podcasting
with Mark Blevis
NOTE: This session has limited spots available and is now full on the Friday session
Learn the steps necessary to make your audio programs available and accessible online, the tools that make this possible, how to promote your online presence, online resources and issues related to licensing in the digital age. Mark Blevis will discuss free and almost free tools and services that can help you increase your online profile and engage with your audience in the process.
Listening Session
with Gregory Whitehead
NOTE: This session has limited spots available and is now full on both days
Limited to 5 participants per session (pre-registration required), each participant is asked to bring a 5 minute (max) example of a radio production that he or she has completed or is currently working on and play it for comments and feedback from everyone present, including moderators Hélène Prévost (Can) and Gregory Whitehead (USA).
Wireless Imaginations workshop
with Hector Centeno
This workshop will let you experience what radio transmission is like and how the transmission technology has been monopolized by the specialists and authorities. It would be a minimum experience of radio transmission that could also be developed into radio art and micro radio. The transmitter that the participant will make has only a 30 meter radius of transmission, but people would experience a convivial wireless imagination
"Oh, Shut Up! Who needs a narrator anyway?"
with Chris Brookes
Should we -- can we -- kill the narrator, or will she keep coming back like the UnDead to spite us? And when she walks onstage, how do we write her into the cast of characters and convince her to act instead of just standing there explaining the drama to us as if we were schoolchildren? Some thoughts on narrators, narrative arc, and structural vortex.
Radio Art in Situ (moderated by Anna Friz)
with Hank Bull, Kristen Roos, Emmanual Madan and Valerie Tevere (from NeuroTransmitter) + Tetsuo
Radio does not have to exist in a blank void once the signal is beamed from the radio transmitter. This panel will explain and discuss a number of examples for radio art to be heard "in situ". In this context a radio art work is as much about the sited experience as it is about the involvement of radio. Is radio merely a technical tool in these contexts or is there something that still makes the work radio art?
The Radio Documentary-Feature as Poetry, Drama and Sound-art
Due to unforseen circumstances, Andrea Dancer is regretfully unable to participate in this year's RWB conference.
with Andrea Dancer
The radio feature spans journalism to personal essay - but according to its creator, Peter Leonhardt-Braun, it is a dramatic, poetic and sound-based art form. Using material from the 2008 International Radio-Features Conference, we will critically investigate how these expectations are/are not fulfilled, listener engagement, and its present / future potential.
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