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well folks, it’s that time again – every year framework takes the month of august off to refresh our ears and recharge our recorders. this year we hope to spend the month finally painting the walls and moving into the new permanent framework HQ! hopefully by the time we come back to you in early september we’ll be out of the sauna (or at least more permanently installed in the sauna) and in our new home. cross your fingers for us! in the meantime, if you can’t bear to be apart from us for so long (we know it’s hard) why not peruse the 625 editions of framework in our archives? all online, all free, all available for your listening pleasure at the click of a button:
“but why only 625?” i hear you asking, “this is edition #767 – where are the other 142 editions?” well, they’re sitting on a hard drive, waiting for us to be able to dedicate the time for editing, mastering and uploading them. someday it will happen, basically when we can afford to do it – if you want to help make it possible, why not pop over to our patreon page and help support the mission!
this week’s edition of framework:afield, entitled listening with… the blackwater estuary, was produced in the united kingdom by blanc sceol (stephen shiell & hannah white). for more information see https://blancsceol.co.uk. producer’s notes:
Listening with… is a series of sound works that deeply listen to non-human life, as an act of embracing and raising voice, and an attempt to relocate our ears beyond our human perspective and into the multi-specied dimension.
Tracing seasonal outlines, finding our way through a landscape by deeply listening; reinforcing, reimagining, reinstating, and repurposing what is heard. Close listening and ears-under-skin murmuring, seeking, peeling, pulling, teasing, sounding terrain and sub-terrain. Tentative steps gradually walk towards full immersion and embodied presence.
Listening with… the Blackwater Estuary
This piece visits the Blackwater Estuary from both sides, at Tollesbury and Bradwell-on-sea. Working with a variety of microphones, these layered field recordings and voice seek to contribute to the acoustic commons and bring listeners to an area of natural heritage currently threatened by the proposed Bradwell B nuclear power station, 15 years after the old station was officially defueled. A journey from newness to becoming, a resting and a migration, and a sense of urgency in the face of this new threat to the area.
Microphones both above and below water, alongside geophones and contact mics, capture a multi-faceted perspective encompassing unheard vibrations. Our listening and walking within a landscape becomes a reflection of our interior landscapes, the impluse to go inward in contradiction with the burgeoning springtime. Walking and listening to capture a timelessness, and yet still move forward. Words form a sensory exploration of body feelings and tensions, recounting these as animal qualities. Experiencing the voice within the landscape, a singularity in connection with what is around, meandering towards a plurality, a oneness. The feeling that comes from a place of expanded listening where the ‘I’ melts into the field of sound and into other sounding bodies. Where language fails, vocal sounds take over.stephen shiell, 2021.07