this edition of framework:afield has been produced in australia by eamon sprod (aka tarab). for for information on his work, see eamon has this to say about the program:

This contribution to framework:afield, is in a way a continuation of a series of questions I have been asking myself recently about my work with sound, and about the hows and whys of my use of field recordings. I am curious about the various ways in which found or recorded sound, once removed from its usual context combine to form an other. And how simply through arrangement, through altering the context or surrounding sounds, rather than altering the sound itself through digital processing and the like, you can create an imaginary environment or space for a listener to inhabit. This piece is a simple form of collage. Looking at how the perception of a particular recording is altered by the recording that proceeds it, and how by combining recordings they can come together to create a new and separate space.

By setting myself a series of rules or limitations I have attempted to step outside of what I would usually do within my compositional work, and to set about using raw unaltered recordings, and not of my choosing, to see if I could come up with something which I found interesting. This piece has been constructed from 23 recordings made by different people, and all sourced from within Australia. I asked for one unaltered recording from each person, of anywhere between 1 second and 3 minutes in length. Of course the term field recording can mean many things, and in an attempt to leave this as open as possible I indicated that anything recorded “outside the studio” was fine by me. Simply suggesting that people may like to look at their “local area” for the source of the sound.

I initially planned to arrange the recordings sequentially, but found I couldn’t come up with a particularly interesting result. So while keeping within my limitation of not altering the sounds in any way myself, I decided to create three layers, one at full volume, one at mid volume and one at low volume. Now every recording appears three times. There are not always three recordings playing at once, but there are never more than three. Certain sounds you will clearly hear repeating, while others you may only notice once as they are in some way consumed within the whole.

I have attempted to let the sounds lead me to the combinations that have arrived, starting from purely arbitrary sequences, then working back and rearranging the sounds until I felt that they were all in the places they needed to be, without trying to over work and more importantly over think or loose the somewhat random nature of the arrangement. However while process was important to this piece, it is not the point. My aim was to use simple means to create what is hopefully an interesting sonic experience.

complete artist participation list for this edition:

Rod Price    /
James McDougall    /
Samuel Dunscombe    /    [no website info – get in touch for contact]
Philip Samartzis    /
Camilla Hannan    /
Xrtoq    /    [no website info – get in touch for contact]
Robert Curgenven    /
Nigel Brown    /
Blue Plastic Sunshine    /    [no website info – get in touch for contact]
Tessa Elieff (AKA Tattered Kaylor)    /
Geoff Robinson    /    [no website info – get in touch for contact]
Thembi Soddell    /
Eamon Sprod    /
Ernie Althoff    /    [no website info – get in touch for contact]
Alice Hui-Sheng Chang    /
Gail Priest    /
Lizzie Pogson    /
Peter Falconer    /    [no website info – get in touch for contact]
Jezz4t    /
Mathew Davis    /    [no website info – get in touch for contact]
Dean Linguey    /    [no website info – get in touch for contact]
Malcolm Riddoch    /

patrick 2011, framework:afield

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