This text is an exercise of reflection and communication in deferred, between Olmo Gonzalez and I, well, it turns out that when we do this radio fanzine we don't talk or debate about what we are going to do, how and when. We just do it. For 2 seasons we have been working at a distance (Olmo lives in Madrid and I live in Barcelona) and it will be like that for the rest of the time we will do Okno Okno Okno Okno.

I don't use Whatsapp and Olmo doesn't want to use Telegram. We communicate very poorly. For this reason, I decided to send him some questions, via email, to help me explain to you how we operate technically, as a way to make clear also, our differences and similarities.

EDWhy do you do Okno Okno Okno Okno?

OGBecause you made a mess of me, Enrique Doza, compa.

EDYou always say this to make it sound like you have no interest in sound as you do in the photographic image.

What is your relationship with audio beyond listening to music?

OG I'm going deaf, but I've always been curious about all kinds of stimuli, and sound comes from my relationship with music, for having played with my colleagues, for going deeper into sound... Also for having worked in InSonora, a very cool event about Sound Art in Madrid.

EDI see myself buying a Sonotone for myself soon, but with a built-in recorder so I can collect everything I listen to.

As a fanzine maker, do you think the process of making Okno is similar to making a fanzine?

OGNot because I don't control the whole process, at a given moment I send the audio but I don't choose when and how it is published. The process is similar, but I have to confess that I manage much better with the image than with the audio, in general.

EDAlthough you don't control the times and the process, you do organize yourself well collecting sound material, for not being your usual means of work. In fact, I have never asked you what software you use or what kind of recorder you have.

What technology do you use to record and what do you use to edit audio?

OGTo get sounds, basically the cell phone and its microphone, sometimes I also get them from various RRSS. I edit with Audition, I tried a non-adobe program, but I'm getting too old to learn anything.

EDI have no idea what kind of program it is. I imagine it's free software. Since I started in audio, I have always used Garage Band from 2009.

Are you interested in sound art?

OGYes, although I'm a complete ignoramus, what little I get is through InSonora, and thanks. I'm on borrowed time, until they kick me out, I guess.

EDI am not interested in it as an artistic concept but as an important part of the creative reality.

How do you choose the themes you use for Okno?,

OGI totally improvise at the moment when you put pressure on me to present my session. Sometimes I have the chip active and record something that catches my eye during the previous month, but I'm pretty messy.

EDI think we choose the topics in the same way. With a "disastrous" methodology that makes it easier to find, to discover topics and not to foresee or program them.

Are you more into field recording or youtube type file strips or the like?

OGI'm more about recording with my cell phone what I find, to be honest. Searching for audios seems like extra work to me. It's something that happens to me with the image too, I don't go out to look for photos anymore, I find a beautiful scene and I photograph it with my cell phone, without planning. There are some themes always flying over my head, and something always has to be seen, but nothing planned. And apart from that, if I suddenly find an interesting source of images, with a specific theme, etc. I download things from there and put together something coherent. I've done it that way sometimes with sound when I've found an interesting source, but as I almost always only have the visual radar activated, I find the sound less.

EDI remember an episode of the second season, where it was not clear to me who had done what, taking into consideration that you did that episode by yourself.

What do you think is the impact of the audio, compared to the impact of the images?

OGIf there is one, it is more underground, I would say subliminal, but the images are very subconscious, so I could not say which is more impacting on the population. Of course we have adapted to the visual, me more than anyone else. I would say that sound is an escape route from visual pressure, but I don't think it's as liberating.

Olmo Gonzalez Moriana is a photographer, a full-time father, a book fair enthusiast, a teacher and a youtuber. He lives in Madrid. Enrique Doza is a multimedia artist, fanzine editor, cultural manager and podcaster. Lives in Barcelona They met at the Libros Mutantes publishing fair in Madrid in 2014 and they do Okno Okno Okno Okno. Irregular Catastrophic Radio Fanzine since 2017.