this edition of framework:afield has been produced by edward sanderson, and features the work of artists working with field recordings in china. for more information on edward and his work, see

K1973 (Zhang Jungang) – “共乐小区 Gongle Community”, from the Harbin Sound Map, Harbin, 2009
“The air defence warning sound in Harbin on the 18th September, the National Humiliation Day, this recording sounds like an urban symphony consisting of the sonic ritual and sounds of daily life.” – Zhang Jungang

Zhao Cong – excerpt from “Twice, or More 两次,或更多”, from the album “Afternoon” by Zhao Cong, published by Zoomin’ Night, Beijing 2016
“‘Twice, or More’ was named after the number of times that my collaborator, a katydid, chirped during the entire performance. It was recorded on a summer afternoon, you can hear the street, traffic, and some other things.” – Zhao Cong

VAVABOND – excerpt from “3-切分/Split”, from the album “HOLOGRAM OF sea” by VAVABOND, published by CFI Record, Beijing 2012
“An improvisation with sounds of the sea recorded at a beach of Hepu island, Zhejiang Province in 2010.” – Wei Wei (VAVABOND)

Miki Yui – excerpt from “Island”, from the album “Around Sound Art Festival 2009 聽在” by Various Artists, published by soundpocket, Hong Kong 2010
“As I came to Lamma island, the remains in and around these abandoned houses were still breathing subtly after many years.” – Miki Yui

Yin Yi – “Not Seen”, unpublished recording 2016.
“The uncertainties and blurrings of a sound always attract me; they are caused by place, atmosphere and cultural difference.” – Yin Yi

Edwin Lo – excerpt from “Rabbit Travelogue: Central Region”, from the album “Rabbit Travelogue: Central Region” by Edwin Lo, published by Auditory Scenes, Hong Kong 2010
“This work reflects my previous interest in Hong Kong urban soundscape and the theme of urban redevelopment that tries to articulate different dimensions of listening in terms of social, cultural and political aspects.” – Edwin Lo

Solomon Yu Tik-man余廸文 – “20141211_4PM_Admiralty 金鐘_The Clearance 清場”, from the album “DAY AFTER翌日[2014. 9.29 – 12.12]” by Various Artists, published by soundpocket, Hong Kong 2015

HITLIKE (Zhang Liming) – “靖宇街 Jingyu Street”, from the Harbin Sound Map, Harbin, 2009
“Preparing for the nightly market, individual peddlers put up metal racks in this street.” – HITLIKE

HITLIKE (Zhang Liming) – “会展中心 Convention and Exhibition Center”, from the Harbin Sound Map, Harbin, 2009
“It seems like a sound installation – several flagpoles in the square swaying in the wind, the sound coming from their slapping ropes.” – HITLIKE

Li Jianhong – excerpt from “**Rain*”, from the album “十二境 Twelve Moods” by Li Jianhong, published by CFI Record, Beijing 2010
“This is a track of improvisation with rain outside my window when I was living in Hangzhou in the winter of 2009.” – Li Jianhong

KuanYue – excerpt from “Environmental Listening”, from the album “untitled.1013” by KuanYue (Sun Wei), published by Luogu Records, Chengdu 2012.
“This is a strange kind of work, it doesn’t follow the general sense of experimental music, nor the traditional sense of field recordings; it is perhaps just designed to meet the artist’s personal ideas on the occurrence of pure sound responses to different levels of listening, that take place in your specific circumstances; please don’t turn the volume up.” – Sun Wei

Elaine W. Ho – “2013aug_侗族battle004”, recorded 2013, excerpts previously published in The HK FARMers’ Almanac, published by Spring Workshop, 2015
“A recording of an annual tradition where neighbouring villagers in Zhaoxing village (Guizhou Province, China) celebrate the new rice harvest with sound battles using reed pipes.” – Elaine W. Ho

Yan Jun – “Green Lamma – Granite says no to graffiti”, from the album “Lamma Island Diary” by Yan Jun, published by re-records, Hong Kong 2009
“Lamma Island Diary was my first actual solo album; however you label it: field recording or improvised music, does not matter; it felt easy and still feels so.” – Yan Jun

patrick 2017, framework:afield

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