Monthly Archives: February 2011

Norkring: groen

Pressrelease: Norkring Belgium colours ether TV green


(Brussels – 03/12/2010) 
As a young and innovative media company, Norkring Belgium is very aware of the importance of ecology and sustainability. Norkring Belgium has complete infrastructure at its disposal in Flanders and Brussels for the digital transmission of radio, television, and data signals via the digital and analogue ether (DVB-T, DAB, DVB-H, FM and AM). Starting in January 2011, all of the energy used by this infrastructure will come from sustainable, inexhaustible energy sources such as windmill parks and hydroelectric power stations. No CO2 is released using these technologies, resulting in an annual reduction of 2,600 tonnes of CO2. The choice of Norkring Belgium for 100% green electricity for all of its broadcasts helps reduce the ecological footprint of its viewers and listeners.


Bart Bosmans, CEO Norkring Belgium nv:“Norkring Belgium bears a great responsibility due to its energy consumption. So, in addition to upgrading our TV and radio infrastructure, we opted for 100% green and renewable energy. This represents an important contribution to a greener environment, which helps reduce the ecological footprint of all of our viewers and listeners.“


Dany Vandevelde, Senior Investment Manager of Flemish investment company PMV nv: “Norkring Belgium’s green power initiative reflects the pioneering role in the area of sustainability that PMV seeks in its investments. It is clear that every company or individual must take steps to realise the sustainable development of our economy. PMV helps lower the threshold, and is proud of the efforts made by Norkring Belgium.”

Press contact:

For more information on Norkring Belgium and its activities, contact Kristien Boels, Marketing & Communications Manager at Norkring Belgium, M 0496 07 89 77 –

Charles Kemper


Migrating birds are attracted to the lights on television, radio, and cell-phone towers and will circle them for hours. Many mornings, Kemper found hundreds of dead birds. One morning he found 11,000. In 2002, he discontinued his study because he was no longer finding dead birds. He says he’s not certain why, but speculates that birds are becoming accustomed to the towers.

Kemper, Charles. 1996. A Study of Bird Mortality at as West Central Wisconsin TV Tower from 1957-1995. Passenger Pigeon, 58: 219-235.

Andere referenties (van Ornithological Council Towerkill Resolution):

  • Cochran, William W. and Richard R. Graber. 1958. Attraction of nocturnal migrants by lights on a television tower. Wilson Bulletin, 70:378-380.
  • Larkin, Ronald P., and Barbara A. Frase. 1988. Circular paths of birds flying near a broadcasting tower in cloud. Journal of Comparative Psychology 102:90-93.
  • Ogden, Lesley P. 1996. Collision course: the hazards of lighted structures and windows to migrating birds. World Wildlife Fund Canada and the Fatal Lights Awareness Program, 46 pp.

Zie ook:
Towerkill Workshop met gedetailleerde wetenschappelijke bendaringen.

Zendmast Egem

De VRT-toren van Egem is een 291,40 meter hoge zendmast van de VRT langs de Vliegveldweg in Egem, deelgemeente van Pittem (West-Vlaanderen). De mast draagt de antennes voor de tv-uitzendingen van de VRT (enkel nog DVB-T digitaal sinds de definitieve uitschakeling van de analoge tv-zenders in de nacht van 2 op 3 november 2008), de radio-uitzendingen van de VRT (Radio 1, Radio 2, Klara, MNM, Studio Brussel) en de uitzendingen van een aantal andere niet-VRT-radiozenders (Q-MusicJOE fm, Radio Contact, Radio Nostalgie). Er zijn ook een aantal antennes voor mobiele communicatie (Base,Mobistar en Proximus) aan de mast bevestigd.

De toren werd gebouwd in 1973 ter vervanging van de in 1958 opgerichte televisiemast van Ruiselede.

Voor de privatisering van het VRT-netwerk, waarvan dit zendstation deel uitmaakt, koos de VRT in december 2008 voor het Noorse bedrijf Norkring.


51°1’18” NB / 3°14’10” OL


Coates and Birds: Curatorial Text

Being Bird
by Tracy Warr
18th August 2009

Curator and writer Tracy Warr explores Marcus Coates’ facination with the interspecies boundary between the human and bird.

We can only guess at what a frog or cat sees, what a dolphin or bat hears. The same world is sensed and resonates differently for different species. Whilst exploring these alien sensory worlds Marcus Coates asks questions about being human. Although he demonstrates that there is no shared language between human and animal worlds, we can discern points of connection and analogy – habitats, communication and possibly cultural artefacts.

Coates’ installation recreates a dawn chorus using humans mimicking birdsong. He worked with wildlife sound recordist, Geoff Sample, recording six choruses from 3am to 9am across three locations in Northumberland. They set out 14 microphones – placed up trees, in bushes, between rocks which fed back to their recording studio, a camper van – to collect the songs of 14 birds simultaneously each morning. In total Coates and Sample collected 576 hours of birdsong. The quest for knowledge on how birds communicate in such a dense acoustic environment is one that occupies animal behaviourists and neuroscientists. The fieldwork for Dawn Chorus captured valuable data contributing to these scientific quandries.

Each of the birdsongs from a single morning was then digitally slowed down up to 16 times. Human singers were then filmed reproducing this sound. Some of these songs were relatively easy to mimic however a few were virtually impossible. The blackbird and songthrush, for instance, sing a seemingly random sequence of unpredictable and unfamiliar sounds, their songs have a very wide ranging pitch and they often sing two notes simultaneously (they have two windpipes). The human singers replicated the bird sounds with a variety of vocal techniques including sucking in air, grunting and clicking. An hour of this singing by each performer was then speeded back up to the original ‘bird speed’ resulting in four minutes of film footage.

The screens in the exhibition represent each microphone placement from the fieldwork. The singers were filmed in habitual locations – offices, houses, garden sheds, bedrooms, hotel rooms, cars – representing their ‘natural environments’.

Coates explores the relationships between nature and culture. In his films and performances either he, or his collaborators, attempt to become birds, animals and marine mammals. Coates tries to understand an alien world through absurd and effortful mimicry and masquerade. His experiential approach draws on anthropology, mythology and empirical scientific methodology, using the human body as an unlikely instrument to understand something other by attempting to be or become it. There is wonder, in both senses of the word, in Coates’ work. His interest in both the magical and the rational, makes us recognise that there is not necessarily a difference between belief and knowledge.

As an artist Coates tolerates an immersion in not knowing, occupying an area of uncertainty and doubt, and taking us, his audience, into that rich territory with him. The interspecies boundary between the human and something else – animal, machine, alien, bird – is an uncanny space of possibilities. Coates conjures up a world of potential metamorphosis, of mythical and actual hybrids. The singers in Dawn Chorus flout our concepts of what is natural and normal, but they are also figures of possibility, escaping the physical and social constraints of the merely human.

Tracey Warr is a writer and curator. She is Researcher, Art in Social Contexts at Glasgow School of Art. She is the Editor of ‘The Artist’s Body'(Phaidon, 2000) and has written on many contemporary artists’ work including an essay in ‘Marcus Coates’ (Grizedale, 2001).