framework500Â available now!
asmus tietchens, dallas simpson, eric cordier, felicity ford, jeph jerman, keith berry, keith de mendonca, loren chasse, max Å¡enteÄ¼evs, maria balabas, martin clarke, matteo uggeri, peter cusack, scott sherk, eamon sprod, emmanuel mieville, jean-luc guionnet, jez riley-french, jim haynes, joel stern, jonathan coleclough, ben owen, kodama, phill niblock, richard garet, simon whetham, thomas tilly, toy.bizarre
to order, donate 40â‚¬ or more via the donate button to the right. we’ll be in touch to confirm your order and address.
framework editions is proud to announce it’s latest release, framework500, produced in celebration of our 500th(!) edition, which premiered on sunday, february 22nd, 2015.
to celebrate this important moment in our history, we are publishing this new 3-disc compilation. we invited the artists who participated in our first release, framework250, to return with a new work. we are proud to present those works here, slow burnt onto the highest quality CDRs, and housed in a beautiful origami sleeve made from locally produced recycled stock fromÂ rÃ¤pina paberivabrik and letterpressed on the historical machines atÂ studio.tartuensis.
whatâ€™s more, we have had the amazing opportunity to be present for both the production of our very own paper stock, and its printing, and haveÂ thusly been able to include on the release recordings of both of these processes. so you can hold framework500 in your hand while you listen to the sounds of the paper you are touching being made and the words you are reading being printed. many, many thanks to mihkel peedimaa and lemmit kaplinski for making this possible. we are very proud to be able to produce this object with local materials in collaboration with local artisans.
framework500 is available to framework supporters in exchange for a minimum donation of 40â‚¬, via the donations bar on the right. framework is a 100% volunteer effort, and we rely on listener support to be able to continue. please support your favorite radio show today!
of course this project would not have been possible without the participation and good will of all the artists. many thanks to them, once again, for making it happen.
- rÃ¤pina paberivabrik ::: making this paper ::: 05:00
- jeph jerman ::: prayer wheel ::: 06:06
- loren chasse ::: moonlight on the villages ::: 07:43
- matteo uggeri & luca bergero ::: paper blocks ::: 06:56
- felicity ford ::: fermenting madder ::: 06:55
- eamon sprod ::: rock pool: blanket bay ::: 07:26
- murmer ::: signal from the dam ::: 08:06
- scott sherk ::: 9 steel stele ::: 05:49
- peter cusack ::: milking a camel ::: 03:21
- keith berry ::: bay of trujillo ::: 07:17
- maria balabas, mihai balabas & nicolas triboi ::: la madeleine sonore ::: 10:07
- asmus tietchens ::: deb 1b ::: 03:38
- keith de mendonca ::: echo ::: 06:30
- martin clarke ::: varanasi ::: 04:20
- maksims Å¡enteÄ¼evs ::: river styx ::: 10:46
- kodama ::: cauldron ::: 14:24
- dallas simpson ::: tunnel improvisation (edited mix extract) ::: 06:11
- eric cordier ::: les gardiens de la forÃªt ::: 07:14
- jonathan coleclough ::: kÃ¶ln fork ::: 04:28
- ben owen ::: stairwell bergen st ::: 07:01
- toy.bizarre ::: title ::: 04:30
- jim haynes ::: we feared there was an unfortunate woman amongst them ::: 07:01
- thomas tilly :::mycelial path ::: 09:06
- jean-luc guionnet ::: what happened? ::: 10:31
- emmanuel mieville ::: ascenseur en montÃ©e ::: 09:46
- jez riley french ::: dorset circle (extract) ::: 08:27
- joel stern ::: follow that ice-cream truck (java) ::: 05:54
- richard garet ::: shaped water ::: 07:14
- simon whetham ::: the other side of the hall ::: 05:19
- phill niblock ::: crick ::: 11:07
- studio.tartuensis ::: printing these words ::: 05:00
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when mihkel peedimaa, who runs rÃ¤pina paberivabrik (the rÃ¤pina paper mill), told me that they were due to make a new batch of their 200g/sm recycled paper stock, the paper that i had chosen to use for the origami sleeve i was making for framework500, i knew i was being presented with an opportunity. mihkel has always been supportive of framework’s endeavors, and i’ve been using his paper (often donated by the mill) in some way or another since the release of framework250. so i was over the moon when he agreed to allow me to be present on production day with my recording gear (and a photographer) to record the historical old machines at work. i have selected a recording of the main historical paper-making machine itself, made alongside the giant heated rollers that dry the newly-formed stock as it is conveyed around them, to be the first track on the framework500 physical release. here, though, is a wider selection of recordings and photographs from production day (march 4th, 2015).
part of the old historic mill, in this room (the jahvataja ruum, or wastepaper feeding room) there are towers of shredded paper, crushed cardboard and egg cartons. here the process begins, as these materials are loaded onto a conveyor belt to be turned into liquid pulp for new paper. at this moment, it is one of the ‘quiet’ spaces in the mill; the conveyors are off, the pulp has already been made. the sounds of pigeons moving in the rafters and rattling old windows can be heard.
after the old paper leaves the jahvataja ruum it is prepared in the massiettevalmistusruum, or stock preparation room…
then thickened in the algas, or stock thickener.
in the same hall is the ringvee kraan, a pneumatically operated valve for water circulation.
the finished pulp is collected in large reservoirs, the massibasseinid, or stock tanks.
the pulp is sprayed out in liquid form onto the conveyors of the paberimasin (paper machine) where it is quickly dried.
giant heated rollers in the kuivati (dryer section) press and dry the newly formed stock as it rolls over and around them.
a perspective from the far end of the paberimasina ruum with our stock being rolled onto giant spools in its finished form.
from just outside, only hints of the activity within can be heard.
text and recordings by patrick mcginley
photographs by lauri kulpsoo
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contact mic recordings of the prayer wheel at Amitabha stupa in sedona az. the photo was taken the same day, on returning to my car. it is sunlight reflected off a metal badge attached to the strap of my messenger bag.
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inside the ruin i am stirred by the ghost of human actions. damaged wood and metal variously ajar and fallen, vast areas of mold across flecked surfaces lit by stray beams, scattered broken glass and opaque pools, mulched paper piled with feathers and birdshit, dangling wires and conduits, holes, mounds, drips, webs. here and there the remains of personal objects resonate and remind me of the personalities that once persevered through daily life in this mill. i move about warily, brushing past tiny plants sprung from holes in the walls, dodging soft spots on the floor, breathing quietly as i step into the cave of a shadow.
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Matteo Uggeri has experimented with various music styles since 1994 under different names and projects playing in bands like Sparkle in Grey and Harshcore and collaborating with musicians such as De Fabriek, Ether, Nicola Ratti, OvO, Telepherique, Morkobot, Mujika Easel, Andrea Serrapiglio, Tex La Homa, Giuseppe Ielasi, Francesco Giannico, Andrea Ferraris, and Luca Mauri on remixes and other form of collaboration. His albums have been released by Boring Machines, Digitalis Industries, Fluid Audio and others. With his tiny label Moriremo Tutti Records published a video art project that features artists such as Zbignew Karkowski, Yan Jun, Eraldo Bernocchi, Wooden Veil, Controlled Bleeding and many others.
Luca Bergero is a sound artist, music therapist and field recorder. Graduated in electronic engineering from the Politecnico di Torino, deals with electronic music, soundscape and acoustic ecology. In 2006 he presented ” La Fabbrica e la sua voce – trame sonore dellâ€™industria tessile” (in collaboration with Luca SigurtÃ ), an exhibition at the museum La fabbrica della ruota (Pray, Biella). He cooperates for recordings and sound design with the film director Manuel Cecconello In several films. Among them: â€œVentiâ€ (2003), â€œNacquaneâ€ (2004), â€œSISâ€ (2006), â€œBeato colui che sarÃ visto dai tuoi occhiâ€ (2007), â€œStrologoâ€ (2009). He developed an experience of music therapy and soundscape and at the psychiatric day center cooperative ANTEO of Biella.
Track premastering by Ian Hawgood
Images by Adriano Zanni
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In this recording you can hear fermentation taking place in a saucepan full of madder root and water. This saucepan and its contents have been resting on a stove for several days, having been used to dye skeins of woollen yarn a succession of red and pink shades. The tiny fizzes and pops inside the pan are a result of the ancient chemistry of the madder vat.
Madder – Rubia tinctorum – is an old dyestuff; evidence of its use in textile production dates back to the third millennium BCE. It grows in an untidy and prickly mass of creeping vines and its flowers are very tiny and yellow. The roots â€“ when unearthed â€“ are a glorious burnished tawny red shade, brittle, succulent, and deep-running. When slowly dried in an oven, the smell of these roots is not unlike that of baking beetroot.
To get the best colours from this plant, the harvested roots are dried and crushed, then soaked and heated in water with the addition of a little chalk powder. This mildly alkaline solution is never raised above 60 degrees centigrade because above this temperature the pigments begin to break down, turning a dirty brown shade and losing some of their pleasing rosiness and luminosity.
Once prepared like this, and used for dyeing, the precious madder roots begin to ferment. For however much you wash the madder roots, some of the microbes from the soil remain, and because they are never boiled, they begin to make their magical fizz in the long warm days between dyeing.
This recording took five years to make:
- madder seeds planted in Reading, UK, in 2007.
- madder roots harvested and dried in 2011.
- madder roots used in a wool dyeing workshop at MoKS in 2012.
In the microcosm of the saucepan with its fermenting contents, the world around with its birds and people is also heard. Recorded with binaural microphones suspended inside the pan.
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eamon/tarab explores re-contextualised collected sounds and tactile gestures formed into dynamic, psycho-geographical compositions inspired by discarded things, found things, crawling around in the dirt, junk, the ground, rocks, dust, wind, walking aimlessly, scratchy things, decay and most if not all the things he hears and sees.
More than simply documenting a given site, eamon/tarab is interested in a direct engagement with our surrounds, teasing out half narratives, visceral sensation, false leads and heightened awareness.
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signal from the dam, composed specially for framework500, is constructed from sounds found in tilleorg and tallinn, and antennae played in tÃµravere (by piibe kolka and patrick mcginley) and pÃµlgaste (by the rain).
photo by tuuli tubin.
patrick mcginley (aka murmer) is an american-born sound, performance, and radio artist who has been based in europe since 1996. since then he has been building a collection of found sounds and found objects that has become the basis of all his work. in 2002 he co-founded framework, an organisation that produces a weekly field recording themed radio show. in 2005 he first visited southeast estonia, and relocated there permanently in 2009. most recently mcginley has been giving presentations, workshops, and performances based on the exploration of site-specific sound and sound as definition of space. in live performance his interest in field recording has developed into an attempt to integrate and resonate found sounds, found objects, specific spaces, and moments in time, in order to create a direct and visceral link with an audience and location.
murmerâ€™s work is about small discoveries and concentrated attention; it focuses on the framing of the sounds around us which normally pass through our ears unnoticed and unremarked, but which out of context become unrecognisable, alien and extraordinary: crackling charcoal, a squeaking escalator, a buzzing insect, or oneâ€™s own breath. he works equally with spaces, objects, resonances, and people, in composition, performance, or simply collective action and experience, in exploration of perception via attentive listening.
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9 Steel Stele is extracted from an installation I will be creating at the Grossman Gallery at Lafayette College. I recorded the vibrations of the steel pillars that support the Williams Center for the Arts with piezo contact mics. The installation will randomly select samples from these recordings and play them through one of the five vertically oriented speakers– moving up and down. The sounds will be continuous and will not repeat throughout the course of the exhibition.
This fall Patrick McGinley visited my sound art class at Muhlenberg College, where I teach. My students and I listen to Framework each week as part of the class. Patrick has often conducted workshops or performed at the college. This year he conducted a workshop of hidden sounds around the campus. This work is an outgrowth of that workshop.
Scott Sherk is a sculptor who often works with sound. He is currently curating an exhibition Past/Present: Conversations Across Time at the Allentown Art Museum with his collaborator, Pat Badt. Together they maintain thethirdbarn.org. Scott Sherk is a Professor of Art at Muhlenberg College.
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19.5.13. Tastubek, Kazakhstan
Camels are milked when they are feeding young. In this recording a 3 day old camel â€“ already my shoulder height and very agile â€“ runs to itâ€™s mother and starts suckling on one teet. At this point the camel will allow a human to milk the other teets. As you can hear a lot of milk is delivered rather quickly. Camelâ€™s milk has a fantastic taste, deeper and more complex than a cowâ€™s. It also makes wonderful yogurt.
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Generative music with field recording of birds from Honduras by Francis Gorini.
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Collaborative work done by Maria Balabas (voice, field recordings, text, mixing), Nicolas Triboi (field recordings) and Mihai Balabas (sound colours). The title comes from the poet Svetlana Carstean. The text is a free essay about the nature of sound and our perception of the sonorous world around us. Field recordings were done in Romania.
Maria Balabas is an artist and journalist. She generates projects related with experimental, ambient, electronic, folklore-inspired music and develops also a big interest towards field recordings and their poetics.
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asmus tietchens ::: deb 1b ::: 03:38
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Back in 2009 I created my framework250 track from sound recordings collected from a trip to one single destination, over a brief few days. For this celebration of framework’s 500th edition I decided to collage sounds together from many different places, recorded at many different times since 2009.
But on reflection, I can now hear from these recordings that when I travel, I often search out sounds from similar types of places. And many of those captured sounds themselves have been resounding in those localities for tens or even hundreds of years. The ‘evening echo’ man is still on his corner outside the GPO in Cork city each afternoon. The clock mechanism that turns the ‘four-faced liar’ has been ticking and tocking since 1854. The temple chanting and church masses have echoed in the same buildings for hundreds of years. Time is passing – a drop at a time. So many echoes.
Sound sources are:
- dripping tap – Wat Phothivihan temple, Kelantan Malaysia
- roadsign flapping in the wind – PC beach, Kota Bahru Malaysia
- newspaper salesman – Cork Ireland
- silk loom – Bangkok Thailand
- monks lifting poles (photo) – Namdroling monastery, Bylakuppe India
- shaking fortune telling sticks – Singapore
- bells and hooping – Mamangam Pillayar Koyi temple, Betacaloa Sri Lanka
- monks chanting – Drapolong monastery India
- Sunday church service – St Cataleja Old Goa India
- St Annes church bell and clock mechanism – Cork Ireland
- nuns chanting – Namdroling monastery, Bylakuppe India
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photos by ieva orbidÄne
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Performed and recorded at a cistern (witch’s well) in Puidoux Switzerland, February 2005
by Michael Northam, Hitoshi Kojo and Patrick McGinley
Edited by Hitoshi Kojo, in Epesses Switzerland, 2005
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This is an edited and mixed extract from an environmental improvisation recorded at Monsal Head in the Peak District, UK, recorded on 07/12/14 8:30 – 10:00am. The work consisted of freeform improvisation with found objects and surfaces on part of the disused railway line starting on the Monsal Head Viaduct, then moving into the Headstone Tunnel for the remainder of the improvisation. The sounds featured in this edited and mixed extract were derived from metalwork at the far end of the tunnel, specifically the metal fittings that are part of the tunnel entrance. All sounds are recorded live on location using custom binaural techniques, no processing was used, save small corrective EQ, and it is intended for headphone listening only.
This work has been created especially for Patrick McGinley and Framework500.
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Recorded with the help of Nicolas Franek in November 2013 in the deep rain forest, central Guyana, SaÃ¼l, one day far from any human activity. Composed in French Guyana in the penal colony of Saint Laurent du Maroni September-October 2014.
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Recorded in the UK, Estonia and Germany.
The field recordings in this piece are from two sources: Snow falling onto a metal dish in Estonia, and cracking glass during a live performance in KÃ¶ln, Germany. Some of the louder cracks from the glass were triggering changes in the live processing of sounds from a bowed guitar. My thanks to John Grzinich and Evelyn MÃ¼Ã¼rsepp in Estonia, and to Till Kniola in Germany, for making these recordings possible.
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this recording was made in the upper stairwell in the building where my studio is located. the wind is exciting the (45 degree angle) solar panels that stretch the length of the roof.
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Recorded 20140816 & 20141114, Le Libre (11)
Copyrignt SACEM, 2015
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concretized within magazine a-168 on mare island, california and atomized at helen scarsdale’s shipping container in the early winter of 2015.
jim haynes is an artist who describes his process with the pithy utterance “i rust things.” this statement embraces a multiplicity of meanings and media. in sound construction, haynes draws from shortwave radio static, electric field disturbances, controlled feedback manipulation, and numerous textural scrapings, to manifest a broken minimalism whose magnetic drones and disturbed noise give the impression of timelessness, when in fact the environment is quite active. this engineering of disparate materials and media seeks to evince the unpredictability of decay, to manifest its potential for a rough hewn beauty, and to bare witness to its inevitability.
his work has been published extensively through editions mego, intransitive recordings, semperflorens, hooker vision, ghostly international, and the helen scarsdale agency. he has exhibited / screened / performed internationally, at such venues as the san francisco museum of modern art, experimental intermedia (new york), westspace (melbourne), and the grey area foundation for the arts (san francisco).
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thomas tilly ::: mycelial path ::: 09:06
Composed from various field recordings and electronic manipulations, 2005-2012.
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jean-luc guionnet ::: what happened? ::: 10:31
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The source material for this piece was recorded in a cargo elevator, and book transportation by automatic transport in the library where I work. Other sounds included are cinema projectors and filtered drones.
Emmanuel Mieville is Paris born composer who studied in a cinema school in the sound engineer section, and learned musique concrÃ¨te at the GRM.His approach to experimental music and soundscape composition was fueled by constant listening of creative radio programs since his childhood.He realised many radio shows for french national broadcasting(France-culture and France- Musiques), for example a piece for shakuhachi, voice and electronics, Â«Â Mono no awareÂ Â».He is a contributor and composerÂ for Frameworkâ€™s field recordings inspiring program, produced by Patrick McGinley.
He played ethnic instruments such as Javanese gamelan for two years in Paris.
His concern for aural perception, and memories engraved in urban and wildlife environements, unsing field recordings, yields compositions where soundfield materials are layered, mixed and sometimes transformed by effects(such as granular synthethis).The portrayal of a specific location,with its erratic sonic emotions, dynamic events reaching the ears, is what he aims, interpreting and composing the Â«Â concreteÂ Â» substance to convey it to the listener.
He had collaborations with Buto dancers,video artists and improvises with fellow musicians, such as Eric Cordier, Guido Huebner, Benjamin Thigpen, Heesok Yu, among others.His electroacoustic pieces have been played in festivals by Motus and Licences-Brulures des langues(France), in Spain(Confluencias), Italy(finalist of the Udine international composition competiton).He performed concerts, and improvised with musicians in Malaysia, HongKong, Taiwan, France, Germany.He is also interpret of otherâ€™s musicÂ : K.H Stockhausen, with the CLSI, a innovative laptop group.He has released music on labels such as Tibprod(with TÃ¶re H.Boe),XingWu, Lona records, Baskaru, Obs, Cronica electronica.The next release will be a full length album of drones and dense field textures, on Baskaru.
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jrf contact microphones and adapted geophones were used to collect recordings around the Valley of Stones in Dorset, UK :
. gorse bushes
. teasel plants
. valley fence wires
. ridge fence cables
during this project further questions about how we, as a species, perceive our surroundings came to mind – how we imprint our expectations on specific places and therefore filter our listening experiences and impose ourselves on our understanding of Ê»realityÊ¼ and Ê»natureÊ¼.
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Joel Stern is a musician, artist and curator based in Melbourne, Australia. With Patrick, he was the co-founder of framework radio in it’s Resonance FM incarnation. That was a long time ago.
More recently, Joel has been producing quadraphonic works for analogue electronics and sequenced LED lights. This ongoing investigation, which he calls Chromatic Aberrations, investigates light and sound as forms of transferable energy which can be playfully and unpredictably harnessed. The work has been described by stroboscopic film artist Bruce McClure as “a tiny carnival”. Joel has performed Chromatic Aberrations extensively in Australia. In April and May, he’ll travel to Europe to present these works at Tectonics 2015.
Joel also performs and records with the group Sky Needle, a unique ensemble of instrument builders described by The Wireâ€™s David Keenan as “one of the most radically original and self-sufficient performance units in the world”. Sky Needle have a forthcoming LP, documenting their 2013 European tour, on Belgian weirdo imprint Ultra Eczema.
Joel is artistic director of the Australian organisation Liquid Architecture which commissions and presents projects, festivals, performances and situations by the world’s leading artists working with sound. He is also the cofounder of OtherFilm, a collective that investigates the capacity of the ‘moving image’ to reorient perception, and The Instrument Builders Project, an experimental collaborative project between Australian and Indonesian artists and musicians. As a curator and organiser, Joel has been responsible for festivals, publications, exhibitions, screenings and concerts in Australia and internationally for over ten years.
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Richard Garet interweaves various media including moving image, sound, expanded photography, and multimedia performance. In work ranging from modified environments to installation, with specificity towards media and space, Garet constructs immersive situations that draw attention to the processes of perception, which activate sensorial, physical, and psychological phenomena that reflects on the nature and experience of time.
Garet’s pieces, whether conceptual in origin or stemming from his investigation of complex systems and algorithmic translations, are informed by the background noise established not only by mass media culture but also by the collective experience of the world that surrounds him. Garetâ€™s reductive process seeks to invert the normative function of this background noise, drawing it up from unconscious status to active presence. He finds further inspiration from observing isolated situations of everyday life and from material interactions that incorporate problems of context, technology, defunctionalization, commodity, and environment.
Richard Garet holds an MFA from Bard College. Recent projects include International Biennial of Contemporary Art of Cartagena de Indias, Cartagena, Colombia; Bioderivas, Museo de la Naturaleza y el Hombre, Tenerife, Spain; Queens International, Queens Museum of Art Biennial, Queens, New York; Soundings: A Contemporary Score, Museum of Modern Art, New York; Extraneous to the Message, Julian Navarro Projects, NY; The Spacious Now and the Scale of the instantaneous, Studio 10, NY; 5X5 Real Unreal, Museum of Art Acarigua-Araure, Venezuela; EAC: Espacio de Arte ContemporÃ¡neo, Montevideo, Uruguay; Fine Arts Museum of Montreal; San Francisco Museum of Modern Art; Museum of Contemporary Art of Barcelona (MACBA), Barcelona, Spain; Art Museum of Puerto Rico, San Juan, Puerto Rico; and el Museo del Barrio, NYC. His sonic constructions have been published through sound art labels such as 23five, And-Oar, Non Visual Objects, Winds Measure Recordings, Unframed Recordings, Con-V, Leerraum, White_Line Editions, OBS, and Contour Editions.
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material gathered for failed concert presentation in baseurak hall, city hall, seoul, republic of korea, november 2014
composed specifically for framework 500, stalbridge, dorset, uk, february 2015
image: artist residency TEMI, daejeon, south korea, 2014
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Image and sound from Ikaria Island Greece, summer 2012
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it was also mihkel who suggested i contact lemmit kaplinski at tartu trÃ¼kimuusuem (the tartu printing museum, who’s studio is know internationally as studio.tartuensis) about the possibility of working with them to print the framework500 sleeves traditionally on their historical machines. we met and agreed that the designs would look best letterpressed and lightly embossed on the rÃ¤pina paperstock. i was asked if i had ‘more time or money’, and, when i responded with the answer you might imagine, was invited to be present to help with the printing and paper-scoring process, not only because it was a thrilling prospect, but to help lower my production costs. lemmit was also excited by and supportive of my idea to document the printing process in sound and image, and for that i am very grateful. in mid-march we began the process, printing the inside face of the sleeve on their heidelberg windmill mechanical letterpress, and the outside face on a tabletop manual boston press. vertical and horizontal fold creases were then made on the creasing machine, while the shorter and diagonal creases had to be made by hand. i have selected one recording of the heidelberg letterpress to be the closing track on the release; here though is a wider selection of sound recordings and images from the initial printing day (march 13th, 2015), the boston press session (march 17th, 2015) and our final day in the studio, creasing both mechanically and manually (march 22nd, 2015).
the quiet of morning in the so-far empty studio.tartuensis, otherwise known at tartu trÃ¼kimuuseum (tartu printing museum). within an hour machines and activities would bring the space’s acoustics alive.
sounds of the studio’s historical heidelberg windmill letterpress printing the inside face of the framework500 cd sleeve, recorded close to floor level near the motor. the press’s paper feed would only take our paper, which is textured and slightly uneven, and was not completely flat, with the inside face up, so we would have to print the outside face with the smaller manual boston press.
the heidelberg windmill letterpress idling.
the heidelberg windmill letterpress recorded from above.
activity in the studio recorded from a balcony/staircase landing overlooking the main studio floor.
the outside face of the framework500 sleeve being printed on a small tabletop boston press. the denser bursts of activity are the inkplate being re-inked and spread over the plate and roller.
making the horizontal and vertical creases for folding in the framework500 sleeves. the diagonal creases would have to be done by hand
certainly the most time-consuming stage of the framework500 sleeve production; all the short or diagonal folding creases have to be made by hand with ‘bone’ (actually plastic) creasers. this was the beginning of the process, which is, at the time of posting, still not done.
text and recordings by patrick mcginley
photographs by lauri kulpsoo