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

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

ED_Why are you doing Okno Okno Okno?

OG_Because you've made a mess of me, Enrique Doza, compae.

ED_You 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 to audio, beyond listening to music?

OG _I'm going deaf, but I've always been curious about all kinds of stimuli, and the sound comes to me from my relationship with music, from having played with colleagues, from going deeper into sound... Also from having worked at InSonora, an event about Sound Art that is quite beautiful in Madrid.

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

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

OG_No because I don't control the whole process, at a given time 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.

ED_Although you don't control the time and the process, you do organize yourself well collecting sound material, so it's not your usual way of working. 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?

OG_To get sounds, basically the cell phone and its microphone, sometimes I also get them from RRSS various. I edit with Audition, I tried a program that was not made of adobe, but I get older to learn nothing.

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

Are you interested in sound art?

OG_Yes, although I'm a complete ignoramus, the little I get is for InSonora, and thank you. I'm on borrowed time, until they kick me out, I guess.

ED_I 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?

OG_I totally improvise the moment you put pressure on me to present my session. Sometimes I have the chip active and I record something that catches my attention during the previous month, but I'm quite a mess.

ED_I 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 programme them.

Are you more of a field recorder or a youtube-type file strip or the like?

OG_More of recording with the mobile what I find, the truth. Searching for audios seems like an extra job to me. It's something that happens to me with the image too, I don't go out looking for photos anymore, I find a beautiful scene and I photograph it with my mobile, without planning. There are some themes flying over my head all the time, and something has to do with it, but nothing planned. And besides, if I suddenly find an interesting source of images, with a specific theme, etc. I download things from there and mount something coherent. I've done this sometimes with sound when I've found an interesting source, but as I almost always only have the visual radar activated, I find sound less so.

ED_I remember an episode from season two, where it wasn't clear to me who had done what, considering that you did that episode alone.

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

OG_If there is, it's more underground, I would say subliminal, but the images throw a lot into the subconscious, so I wouldn't know which one is more shocking in the population. Of course we've adapted to the visual, I more than anyone else, wow. 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, full-time father, publishing fair enthusiast, teacher and youtuber. He lives in Madrid. Enrique Doza is a multimedia artist, fanzine editor, cultural manager and podcaster. He lives in Barcelona. They met at the Libros Mutantes publishing fair in Madrid in 2014 and they do a lot of work together. Okno Okno Okno. Irregular Catastrophic Radio Fanzine since 2017.