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radio features

Ali Alizadeh

Ali Alizadeh was born in Tehran in 1976. He grew up with the love of literature and strong Marxist ideologies of his immediate family, while a Revolution went horribly wrong across wider Iran. Today Ali Alizadeh is a highly respected writer and poet with a voice that is clear and uncompromising.

Acoustic Architecture

How does music speak to the buildings that house it? Music has always been a conversation with its environment, but from the 15th Century on, the craft became much more deliberate. And acoustic architecture has changed a lot since Dufay and the Gabrielis were composing their choral works for the Basilicas of Italy.

Remotely Connected

On the NSW Central Coast lives farmer and artist Neil Berecry-Brown. For him, those two titles describe what he does in equal measure and the roles are interchangeable. However, while living on the land has always meant being relatively isolated, this is starting to change. And for many rural artists around the world, technology has allowed them to find each other and form strong networks.

Centenary of Canberra sign outside Parliament House, Canberra. Picture by Belinda Pratten Canberra: Green Tights & Camomile Tea

Australia’s Capital is keen to move into a new era as it passes 100 years since its inception. But what does it mean to be a Canberran? For the rest of Australia, Canberra has remained a staple of parody and caricature for its entire, short life, but surprisingly the residents of Canberra aren’t quite as quick to shrug off the old clichés as you might think.

Gaspard de la Nuit

Why did that very modern 20th Century composer, Maurice Ravel, compose images of spectres, goblins and death? Gaspard de la Nuit is the title of one of the most arresting and spectacularly difficult works ever written for the piano, but the name of this 3-part suite has it’s origins much earlier.

Cosmopolitanism + Culture

What role do artists and intellectuals play in the debate over displaced peoples? Cultural theorist Nikos Papastergiadis and artist and performer David Pledger have been trying to figure this out for many years. Both Nikos and David approach the subject of refugees, and our collective response to the ongoing drama, from different sides. But the questions they ask are very similar.

Why do we have cultural precincts?

It’s been 30 years since one of Australia’s first major post-war cultural buildings, the National Gallery of Victoria, gained a sympathetic neighbour—the Melbourne Concert Hall—which was built in 1982. This pairing of institutions marked the start of what was to become known as Melbourne’s arts precinct. But why do cities love to plonk so many of their large cultural building in one area?