#643: 2018.05.27 [claude schryer]

this edition of framework:afield has been produced in canada by claude schryer. for more information see http://simplesoundscapes.ca. producer’s notes:

Simplesoundscapes are a series of field recordings by Canadian soundscape composer Claude Schryer that explore mindfulness through listening. Simplesoundscapes Afield (2018) is a narrated radio composition that brings together 18 of the best of 80 episodes from the second iteration of this project. […]

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#641: 2018.05.13 [vortichez]

this week’s edition of framework:afield has been produced in tashkent, uzbekistan by vortichez. for more sounds see http://soundcloud.com/vortichez. producer’s notes:

framework:afield: Deep Listening 2018

Field recordings and field recording based sound art of recently certified teachers in the late Pauline Oliveros’ Deep Listening® practice, presented by sound artist Vortichez.

For more information about Deep Listening join the FaceBook Group: The Center for Deep Listening at Rensselaer.

Artwork by fellow new Deep Listening certificate holder Gwyneth Anderson, inspired by the sounds from the show: Internal facade of Umayyad Mosque of Aleppo drawn in violets. (http://gwynethvzanderson.com) […]

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#639: 2018.04.29 [matt burnett]

this edition of framework:afield has been produced in germany by matt burnett, and is entitled arbeitspause (‘workpause’ or ‘work break’). for more information see http://www.mattburnettmusic.com. producer’s notes:

During my workday I like to take a break every few hours from sitting at my desk. A few years ago I had the idea to combine these work breaks with miniature sound walks around my neighborhood here in Berlin. After doing that for a while, I settled on three basic routes. What we will hear in this piece is one of those routes.

The material for this piece was recorded during the first half of March 2018, in the Prenzlauer Berg district of Berlin. During this time the weather was beginning to change from winter to spring, and I tried to record the sounds of this neighborhood as it started to wake up from winter. Sort of like a dawn chorus, but in this case more like a Spring chorus.

The piece makes repeated use of the same physical space, defined by the route of the underlying sound walk. Different sound identities of the route, which are determined by the time of day of each recording, are revealed. […]

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#637: 2018.04.15 [d.l. lutz]

this edition of framework:afield has been produced in germany by architect, writer, sound artist and regular contributor d. l. lutz, and is entitled Earscape „Rainforest“. producer’s notes:

Earscape „Rainforest“

Welcome to the rainforest. It’s hot. It’s humid. It’s strange. But this is no normal rainforest. It’s an installation of technical objects fed with sounds of all sorts, thus pretending to be exotic animals. More precisely, it is Matt Rogalsky’s version of David Tudor’s composition “Rainforest”, displayed in a large empty water tank in Berlin. I was excited by the organic feel of the installation, so I recorded it and looked for other compositions and sounds that also blur the boundaries between the natural and the artificial. This is the result. As you listen, you can never be sure if you hear nature, processed nature or machines; some animals sound like computers, some computers sound like animals. What a strange world to visit… […]

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#635: 2018.04.01 [david clarke]

this edition has been produced in the uk by david clarke, aka iamthehow. for more information see http://iamthehow.com. producer’s notes:

Take some time to unwind and listen to the stories from those who pluck and strum to bring you pleasurable sounds. Come on down with the Cliff Railway from Babbacombe to the secluded beach at Oddicombe where we join the Ukulele Festival – all set to the sounds of the gentle lapping of the waves and the occasional roaring jets of the Red Arrows as they fly high and turn in ukulele formation over this hidden gem on the English Riviera…”

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#633: 2018.03.18 [thomas park]

this edition of framework:afield has been produced in the united states by thomas park. for more information see https://archive.org/details/ThomasParkBenchmarkHub. producer’s notes:

The subject and content of this program are — machines.

I have been using field recordings of mechanical devices as source material in recent years, and I have created a radio show using works of this nature. […]

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#631: 2018.03.04 [kassia flux]

this edition of framework:afield has been produced in the uk, using recordings she made in italy in 2017, by ami wilson, aka kassia flux. for more information see http://kassiaflux.wordpress.com. producer’s notes:

recordings by ami wilson aka kassia flux|from Il Paretaio|stables in tuscany|run by Cristina and Gianni Libardi|
special horse-centric philosophy|super-smiley horses|zero aggression|zero coercion|patience|persistence| […]

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#629: 2018.02.18 [iris garrelfs]

this edition of framework:afield has been curated by iris garrelfs. it features extracts from field recording based compositions created by her phonography students at goldsmiths, university of london. each extract encapsulates the student’s individual approach to exploring some of issues encountered within field recording and soundscape composition practices. the students are, in order of appearance: jack haining, gaspar narby, hee ju Im, marta nowaczynska, lila tristram, federico villella, nicolas robillard, kyuri kim, lewis murray, gabriel manzi, tancrede rouff, alexander berry, samir bouchouat, isaac kniveton, emma clark, eleonora gaspari and samuel hostettler.

for more information see http://irisgarrelfs.com.

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#627: 2018.02.04 [martin eccles]

this edition of framework:afield has been produced in the uk by martin eccles. for more of his work, see his soundcloud page at https://soundcloud.com/mpeccles. producer’s notes:

Orford Replication

Orford Ness
to river to sea
to landing to lighthouse

SW to the huts
NW along the road to the dyke
turn west

meadow sits by saltmarsh
tidal creek fringes
Orford’s long shingle finger […]

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#625: 2018.01.21 [stéphane marin]

this edition of framework:afield has been produced in france by stéphane marin. producer’s notes:

« re_COMPOSED re_ALITY », a re_COMPOSITION »  by Stéphane Marin

« re_COMPOSED re_ALITY » offers a group of walking listeners the chance to explore a synthesis between a ‘pure’ form of listening to the environment and an enhanced listening experience (using different kind of headphones). At the intersection of field-recording, electro-acoustic, and soundwalk, this performance re-composes live the soundscape. During this walk, a re_CORDIST, and a re_COMPOSER will accompany the listeners, subtly suggesting through their performance ways and directions of listening. They bring us into more direct and more intimate contact with sonic objects, and, step by step, they evolve a soundscape from sonic patterns to be shared with the listeners. […]

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#623: 2017.12.17 [john f. barber]

this edition of framework:afield, entitled in progress, has been produced in the united states by john f. barber. for more information on his work see http://nouspace.net/john.

producer’s notes:

In Progress is a sound narrative with a rhythm, even melody, composed entirely of mechanical sounds. A hotel trash compactor in Bergen, Norway, dealing with the remains of a previous night’s party. Pile driving equipment in Victoria, Canada, shutting down after a day of building the new ferry boat landing pier. Wind chimes dancing in a strong east wind. Rain on a metal roof. A collage of sounds from a Maker Faire in Portland, Oregon. Electromagnetic radiation recorded by spacecraft exploring our solar system, and beyond. Air rushing through hotel front doors, and around the edges of an airplane window. A sound installation inside a traditional thatch cottage in Londonderry/Derry, Northern Ireland. An FM carrier signal after the failure of the audio transmission. Squeaking doors, thumping refrigerator compressors. Construction of a new house. Underneath London’s Millennium Bridge. A wall of corrugated paper in Copenhagen. Passengers boarding a ferry. Sound installations samples. A large scale printer finishing a poster. As John Cage told us, everywhere we listen, there is always something to be heard in progress.


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#621: 2017.12.03 [aural tectonics]

this edition of framework:afield has been produced by students of University of the Arts, The Hague, Netherlands, in conjunction with Raviv Ganchrow’s Aural Tectonics workshop at the Institute of Sonology.

Studies in Nonstandard Binaural Hearing, 00:57:19, binaural audio

! Please listen with headphones ! The following recordings have been produced with binaural methods and require headphone playback for spatial accuracy.

The following broadcast contains a series of nonstandard binaural explorations conducted over the course of the Aural Tectonics workshop, at the Institute of Sonology, in autumn of 2017. Binaural recording and playback methods underscore the hearing apparatus as an innate technology and the body itself as a form of site. Participant’s pinnae – the outer portion of the ear crucial for rendering experiences of embodied spatial sound – were cast out of their head sockets and fitted with miniature microphones. Working with these disjoined microphonic ears, dedicated strategies of site-specific recording and audio montage were then developed. The following sequence explores the embodied, yet disjunctive, auditory qualities and spatial agencies of nonstandard first-person hearing. […]

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#619: 2017.11.19 [stefan paulus]

this edition of framework:afield, entitled the sound of work, workplaces and working machines, has been produced in switzerland by stefan paulus. for more information on his work, see http://www.NoWhere-NowHere.org. producer’s notes:

The sound of work, workplaces and working machines.

Human factors and ergonomics sciences have been dealing with noise as workload for several decades. For this purpose, a huge range of instruments and methods already exists. Labour inspectors measure noise levels and using sound pressure measurement methods. Average levels indicate a health hazard. DIN norms regulate employment conditions. But individual impressions of noise less than 85dB aren’t part of these methods or norms. Therefore, annoying quiet sounds for example aren’t listed as dangerous to health and the sensory perception as a cognitive instrument of subjective perceived workloads caused by noise are less a component of human factors and ergonomics sciences and DIN standards. […]

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