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this edition of framework:afield is the latest annual edition curated in the netherlands by raviv ganchrow:

Binaural Ambience Study The Hague, 00:55:59, 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 sequence of binaural ambiences culled from The Hague’s urban environment. The piece forms an interlinked trajectory from The Hague Central Station to the Scheveningen coast, creating a meandering aural section through the cities urban ambiences. Each zone along the trajectory is explored by an individual recordist reacting upon the inherent qualities of their site. The resulting work reveals not only a range of atmospheres but also a polyphony of auditory approaches to urban sounding.

Binaural recording techniques employ in-ear microphones to capture a spatial complexity of environmental acoustics intersecting at the listener. Carefully choreographed recording and audio montage techniques structure, intensify and at times disrupt the innate qualities of this particular audio format of embodied hearing. The following sequence explores these diverse auditory qualities and spatial agencies encountered by The Hague’s first-person listeners.

This piece was realized by participants of Raviv Ganchrow’s Aural Tectonics workshop at the Institute of Sonology, The Hague, in Spring, 2019. Aural Tectonics explores the site-specificity and context-dependency of sound by fostering a critical awareness of, and attitude towards, environmental ambiance. Founded in a practice-based approach, the workshop develops site-dependent strategies for listening, recording, mapping, audio synthesis and sound intervention. Each year a particular site is chosen around which a sequence of intensive projects are developed. Within that framework, diverse approaches to ‘hearing place’ are fostered by adopting locational modes of listening and encouraging individual approaches to contextual ambiance.

Miro Bollen, Margherita Brillada, Quirijn Dees, Willem van Erven Dorens, Abel Fazekas, my name is not mata, Lucie Nezri, Kaðlín Ólafsdóttir, Filip Sternal, Anna-Lena Vogt

Audio Mastering:
Lucie Nezri

The Institute of Sonology website:

[time  /  artist  /  title  /  description]

///////////////////////////////// 00:02:45
////// my name is not mata
Sea of City Noise
Collage of various types of moving metal creating a sea of noise

///////////////////////////////// 00:08:07
////// Kaðlín Ólafsdóttir

///////////////////////////////// 00:13:45
////// Anna-Lena Vogt
Urban Square at Torenstraat in The Hague

///////////////////////////////// 00:19:27
////// Lucie Nezri
I don’t remember exactly when or when (I don’t remember exactly why or how)
* For more information, please see below.

//////////////////////////////// 00:25:06
////// Abel Fazekas
The sound of a church bell mediated through sonic environments.

///////////////////////////////// 00:30:48
////// Willem van Erven Dorens
Wheels and a curve

///////////////////////////////// 00:35:59
////// Margherita Brillada

///////////////////////////////// 00:41:23
////// Filip Sternal
This recording was completed in the Gemeentemuseum, Den Haag, with courtesy of Astrid Hulsmann. It is a one-take recording that involves no sound editing techniques. The purpose was to compose a route through the museum employing the building’s natural fade-in / fade-outs as it would be artificially edited. The recording moves through five different room/halls of the museum.

///////////////////////////////// 00:46:49
////// Miro Bollen
Bumping Boats

///////////////////////////////// 00:52:26
////// Quirijn Dees
Justified Sniffle

///////////////////////////////// additional information
////// * Lucie Nezri
I don’t remember exactly when or when (I don’t remember exactly why or how)

patrick 2019, framework:afield

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