Andrea Langlois et al - Islands of Resistance - Pirate Radio in Canada

210 • islands of resistance
tain bodies in the piece are, in fact connected to other bodies some
distance away. Because I use many small sound sources, as opposed to
a central one, my use of radios is also strategically intended for individual
bodies, to be controlled individually. The radio is generally used
as an extension of the body, a bridge from one body to another.
HMMM encapsulates my relationship with radio in general and,
moreover, with pirate radio; in particular, how fragile and physical
it is. It is a forbidden act, but we all know that it’s intrinsically right.
Like a voice, it is ultimately individualistic and inevitably subject to
suppression. It might seem weak in comparison to newer technologies
like the internet, but uniting many small and individual audio sources
can create remarkably strong and powerful phenomena.
notes
1. See Chapter 12 in this volume for more about Christof Migone’s work.
2. Michel Chion, L’audio-vision, (Paris: Nathan-Université, 1991).
3. “The singer’s formant produced uniquely by resonance, with no supplementary
effort... increases the amplitude of the voice, making it possible for a
singer’s voice to he heard over a large orchestra,” in Jean-Francois Augoyard and
Henry Torgue, Sonic Experience, (Montréal: McGill–Queens University Press,
2005), 108.