hi folks – a small side note: i made a small appeal on facebook this week. over the last few months we’ve lost several of our (financial) supporters, and we hoped to entice a few more of our regular listeners into supporting the program with a small monthly donation. unfortunately our plea, while garnering many likes, several shares, and apparently reaching over 800 people, produced precisely zero new subscribers, and only one donation. so we’re extending the plea further: if you’d like to see framework radio continue, and you are not already a donor, PLEASE consider signing up to make a monthly contribution towards its upkeep, AS LITTLE AS 1â‚¬ PER MONTH, or 5â‚¬, or 10â‚¬. it’s very little, but it’s a great help to us. or at least make a one-time donation of an amount of your choice. and don’t forget that if you do, you get to pick from amongst the great framework editions releases as our thanks to you (issue #9 is now in the works). visit the framework website and look at the donations bar on the right side of every page to see how you can help.
but now on to the show – this edition of framework:afield has been produced in the uk by paul ratcliff. producer’s notes:
You are going to hear a collection of sounds from the region of Yorkshire in the North of England, UK. This collation is the culmination of four years of field recording practice and is arranged to show both the sounds of human-made constructions, what Krause would call Anthrophony, and also the natural history sounds found in the urban areas of the county. It starts with renovated Victorian machinery, sounds from the past, passes though the common and less common sound of a modern city, using both close proximity omnidirectional and contact microphones to expose outer and inner workings of the places we live. It develops into an exploration of the sonic relationship between our wildlife and our machines and finalises with dusk and dawn recordings from ancient woodlands of the area. Many of the recordings were made after hours and days of waiting for the phenomena to occur, but there are also chance happenings in this composition, found through pedestrian explorations made around the region. In part this work questions our engagement with the environment, as we thermally, and as a result sonically, insulate ourselves for the sound of the world around us,â€¦â€¦ it suggests that we listen more, walk more and explore more. It also challenges our UK-based seasonal behaviours as we move from home to transport to work and back again, only venturing outside in the summer monthsâ€¦ as many of these recordings are made in winter, autumn and spring. It additionally questions our relationships with places after dark, for although this is a sound-based exploration, many of the recordings are made at crepuscular times. It suggests in-part that we need not venture too far from home, as these recordings are essentially from my neighbourhood. Although these are all sounds recorded in Yorkshire, they do not include sounds of regional or commercial development, instead these sounds might be heard as heritage sounds, sounds of past industry, sounds of industrial decay, sounds of transportation and natural history sounds. These are not the sounds of people, but instead the sounds of some of the objects they produce and these are not the sounds of wilderness but instead the sounds of natural history co-existing with humans in a North England county.
Thanks go to: Alan Dunn, Steve Parker, Ben Challis, Tom Jackson and Brian Larkman