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supplement: Ballettikka Radiophonnikka, 2017
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Ballettikka Radiophonnikka
all-day radio art project by Igor Štromajer & Brane Zorman
Live On Air: Saturday, 1 April 2017, 07:20 – 23:55
Radio Slovenia Third Channel – ARS, Ljubljana, Slovenia
Concept: Igor Štromajer, Brane Zorman, Petra Tanko, Bojana Kunst
Authors and Performers: Igor Štromajer & Brane Zorman
Sound Artist: Brane Zorman
Dramaturg: Petra Tanko
Theoretical Adviser: Bojana Kunst
ARS, Managing Editor: Matej Venier
ARS, Editor for Radio Plays: Gabrijela Gruden - Lučka
# manipulating live radio program with Dijkstra’s algorithm
Ballettikka Radiophonnikka
celodnevni radiofonski projekt Igorja Štromajerja in Braneta Zormana
V živo: sobota, 1. april 2017, 07:20 – 23:55
Radio Slovenia, Program Ars, 3. program, Ljubljana, Slovenija
Arhiv RTVSLO 4D: 4d.rtvslo.si/arhiv/radijska-igra/174513538
Koncept: Igor Štromajer, Brane Zorman, Petra Tanko, Bojana Kunst
Avtorja in izvajalca: Igor Štromajer & Brane Zorman
Zvočni umetnik: Brane Zorman
Dramaturginja: Petra Tanko
Teoretska svetovalka: Bojana Kunst
Odgovorni urednik Programa Ars: Matej Venier
Uredništvo igranega programa, urednica Gabrijela Gruden - Lučka
Following the completion of all online iterations of the project, Ballettikka Radiophonnikka is the first Ballettikka to work exclusively with sound as its primary medium. Into the radio space occupied by Program Ars, the 3rd program of Radio Slovenia, the authors infiltrate Program Ars itself. Driven by Dijkstra's algorithm, they construct an automated radio play that maintains a guerrilla relationship with its own source material. They generate echoes and fragments of the broadcast, which are subsequently fed back into the airwaves. The process involves capturing discrete audio samples of varying lengths, extracted by a computer algorithm from the ongoing linear radio stream, and manipulating them through time-shifting, repositioning, and omission. In music, a process based on similar principles of real-time sound synthesis is known as granular synthesis.
The frequency and duration of these echoes are controlled by the algorithm. An algorithm is a set of instructions designed to solve a specific problem, typically structured as a sequence of steps leading to a solution. In Ballettikka Radiophonnikka, the authors employ Dijkstra's algorithm (named after the Dutch computer scientist Edsger W. Dijkstra), effectively serving as a foundational tactical algorithm. It is utilized by military and guerrilla strategists alike, as it enables the most efficient, precise, and optimal planning of military operations, guerrilla incursions, and other high-risk special actions.
Dijkstra's algorithm, also referred to as the shortest-path tree, is used to plot the most direct and economical route through a mass of information, signals, noise, interference, or obstacles. Dijkstra developed the shortest-path algorithm using a so-called greedy approach. The shortest paths are those that bypass obstacles to reach the objective as quickly as possible with minimal casualties. In Ballettikka Radiophonnikka, Dijkstra's algorithm, operating as a software application, automatically determines which segments of Program Ars and its archive to record, where to place them, and when to play them back. The machine itself, executing the algorithm, repeatedly breaches the live broadcast and archive of Program Ars, mirroring the fragments back into the programming at different intervals, thereby constructing a parallel radiophonic tree.
This operates as an automated guerrilla action that mirrors the radio program in brief, second-long fragments. Audio excerpts lasting up to a minute return to the broadcast like shattered fragments, positioned strictly where the algorithm dictates. For the listener, the effect mirrors a hall of mirrors, where severed, fractured images recur and multiply into infinity. This is an automated radio play generated live from the broadcast and its archive by the algorithm itself.
Indeed, the algorithm alone can simultaneously generate and transcend political anxiety. Today, the most radical artwork an artist can create, program, or execute is the one they do not actually create or perform, the one that does not exist, the one relinquished to the algorithm and the machine. That is to say, the artist consciously and actively refrains from making art, leaving it locked in its own potentiality, effectively abandoning it. Or perhaps not.
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Ballettikka Radiophonnikka je, po zaključku vseh internetnih verzij projekta, prva Ballettikka, ki kot svoje izrazno sredstvo uporablja izključno zvok. V radijski prostor, ki ga zavzema Program Ars, 3. program Radia Slovenija, avtorji infiltrirajo – sam Program Ars. S pomočjo Dijkstrovega algoritma ustvarjajo avtomatizirano radijsko igro, ki je v gverilskem odnosu do lastnega materiala, Programa Ars. Ustvarjajo odmeve, koščke, fragmente radijskega programa, ki jih nato vračajo nazaj v program. Postopek je sestavljen iz zajemanja posameznih, različno dolgih zvočnih vzorcev, ki jih računalniški algoritem izloči iz tekočega linearnega radijskega zvočnega toka in iz časovne manilupacije teh vzorcev, njihovega premeščanja in izpuščanja v času. V glasbi se postopek na podobnih osnovah sinteze zvoka v realnem času imenuje granularna sinteza.
Za frekvenco (pogostost) in trajanje odmevov skrbi algoritem. Algoritem je navodilo, s katerim rešujemo določen problem. Običajno je zapisan kot seznam korakov, ki nas pripeljejo do rešitve problema. Pri Ballettikki Radiophonnikki avtorji uporabljajo Dijkstrov algoritem (imenovan po nizozemskem znanstveniku Edsgerju Dijkstri), ki je takorekoč osnovni taktični algoritem. Uporabljajo ga tako vojaški kot gverilski strategi, saj je z njim mogoče najbolje, najbolj ekonomično in natančno načrtovati vojaške operacije, gverilske vdore in podobne posebne akcije visokega tveganja.
Dijkstrov algoritem, imenovan tudi drevo najkrajših poti, se uporablja za grajenje najkrajše in najbolj ekonomične poti skozi množico informacij, signalov, šumov, motenj ali ovir. Dijkstra je razvil algoritem za drevo najkrajših poti s t.i. požrešno metodo. Najkrajše poti so tiste možne poti, s katerimi se izogibamo oviram in dosežemo cilj čim hitreje in s čim manj žrtvami. Dijkstrov algoritem, ki ga v primeru Ballettikke Radiophonnikke kot računalniško aplikacijo poganja računalnik, določa, kdaj in kateri del Programa Ars, 3. programa Radia Slovenija in njegovega arhiva, bo računalnik samodejno posnel, kam ga bo umestil in kdaj ga bo predvajal. Na ta način stroj sam (samodejno, sledeč algoritmu) vdira v sam potek Programa Ars in v njegov arhiv ter rezultate teh vdorov zrcalno, kot fragmente, na drugih mestih spet vrača v program ter tako gradi vzporedno radiofonsko programsko drevo.
Gre takorekoč za avtomatizirano gverilo, ki v kratkih, nekajsekundnih fragmentih, zrcali radijski program. Do enominutni fragmenti radijskega programa se nato kot razbiti delci vračajo v program, zmeraj tja, kamor jih umesti algoritem. Za poslušalca je to morda podoben učinek kot v hiši ogledal, kjer se izrezane, zlomljene, nalomljene podobe vračajo in multiplicirajo v neskončnost. Opravka imamo s samodejno radijsko igro, ki jo iz radijskega programa in arhiva v živo ustvarja algoritem sam.
Algoritem je namreč edini, ki lahko hkrati ustvari in hkrati preseže politično tesnobo. Najbolj radikalno umetniško delo, ki ga danes lahko ustvari, sprogramira ali izvede umetnik, je tisto, ki ga pravzaprav ne ustvari, ne stori. Tisto, ki ga ni. Tisto, ki ga prepusti algoritmu, strojem. Se pravi, da umetnik zavestno, aktivno ne stori umetnosti, da jo pusti ujeto v svoji potencialnosti, da jo takorekoč opusti. Ali pa tudi ne.
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"We shall fight them on the beaches. We shall fight them on the landing grounds. We shall fight in the fields and in the streets, we shall fight in the hills. We shall never surrender."
(W. Churchill)
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