#806: 2022.06.19 [hessel veldman]

Radio Artivity is a multi dimensional sound work and radio play, based on recordings made by Hessel Veldman, Willem de Ridder, Cora Emens and Nick Nicole between 1985 and 1990.

Recorded in real time, round the living room table, at the EXART studio in IJmuiden; The Netherlands.

Willem de Ridder: field-recordings, voices + ordinary objects.
Hessel Veldman: real time sound manipulation, mixing and composing; using field-recordings and all kind of instruments + voices.
Cora Emens: voices + ordinary objects.
Nick Nicole: voices + ordinary objects.

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#804: 2022.06.05 [michael trommer]

this edition of framework:afield has been produced in toronto, canada by michael trommer and his students. for more of his work see https://michaeltrommer.com/. producers’ notes:

Spaces Lived

A phonographic composition in three acts. Using only field recordings to examine the sonic textures, rhythms and tonal components that permeate our lived environments whether exterior, interior, or internal. Composition created, arranged, and mixed by the 2022 class of Postgraduate Sound Production and Postproduction students at George Brown College in Toronto, ON Canada, under the guidance of producer, sound artist and Sound Art program course director: Michael Trommer.

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#802: 2022.05.22 [aki onda]

Aki Onda has channeled the spirit of the late Korean artist Nam June Paik via radio transmission in Nam June’s Spirit Was Speaking to Me (2017/2021). Paik is known for his association with shamanism, a practice that consistently surfaces in his works. With a portable radio in hand, Onda communicates with his spirit from a distance—collecting field recordings of cryptic broadcasts and messages on anonymous radio stations. The series of séances has been conducted in different cities across the globe, beginning in Seoul, Korea in 2010 and continuing in Cologne, Germany in 2012, Wrocław, Poland in 2013, and Lewisburg, United States in 2014. This work was originally commissioned by documenta 14’s radio program “Every Time A Ear di Soun” in 2017.
From March 26 to June 5, 2022, Aki Onda will present Nam June’s Spirit Was Speaking to Me, through microbroadcasting and printed matter at the Toronto Biennial of Art. Broadcasting over two frequencies (88.5 FM and 106.5 FM) that cover the exhibition site of 72 Perth Ave in Toronto, radios are placed as part of the exhibition to symbolize sound waves in the air. The audio work exists as invisible yet discrete and perceptible through the proper medium, recalling the ritual of channeling spirits. Bring your own radio to catch the frequencies.
Onda is also bringing Nam June’s Spirit Was Speaking to Me to the international radio waves in a series of international public programs. The program will play, uninterrupted and in its entirety of 50 minutes. For Onda, those broadcasts are a response to how Nam June Paik spread his ideas through TV cable networks and connected to a large number of people at a global scale.

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#800! 2022.05.08 [CENSE]

You are listening to the second episode of CENSE bimonthly mixtapes series. CENSE – Central European Network for Sonic Ecologies – is a decentralised organisation, gathering artists, educators, writers and researchers, whose aim is to gather and interconnect the community behind the field of acoustic ecology. Members are united by the determination to develop a strategy allowing an impact on the current situation dealing with sound and environment. This episode focuses on one of the four basic elements – Water.
Symptoms of Evidence mixtape series is focused on bringing the field of acoustic ecology closer to the local listeners and interested individuals, introducing field-recordings as a sonic tool for examining our sound environment and enabling us to gain a deeper knowledge on the consequences of environmental processes, together with possible solutions retrieval. further info on the network can be found on the webpage https://cense.earth/.

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#798: 2022.04.24 [france jobin]

this edition of framework:afield has been produced in canada by france jobin, and is the latest installment in her ongoing series for framework, these are a few of my favorite things. producer’s notes:

Bonjour, I am France Jobin, Welcome to these are a few of my favorite things.

As mentioned in earlier installments, my interpretation of field recording based works is very broad. however, the thread I like to follow is to find artists who have mastered their unique identity through the music of sound.

This is the second edition of my favorite things showcasing sound artists from Medellin, Colombia.

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#796: 2022.04.10 [claude schryer]

this edition of framework:afield has been produced in canada by claude schryer. for more of his work see https://www.claudeschryer.ca. producer’s notes:

Winter Diary Revisited is a new work by Canadian soundscape composer Claude Schryer which was the first presentation of the 2022 Deep Wireless Festival of Radio and Transmission Art which took place on Sunday February 6th at the NAISA North Media Arts Centre in South River, Ontario. This radio documentary is a tribute to Canadian composer R. Murray Schafer who passed away in August 2021. Schafer’s writing and the research undertaken with the World Soundscape Project were foundational to the development of the field of acoustic ecology.

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#794: 2022.03.27 [jimi wilson]

this edition of framework:afield has been produced in new zealand by jimi wilson. for more of his work see http://glennaudio.org. producer’s notes:

Kia Ora – Here are some of my favorite recordings I have quietly accumulated over the years, through some less accessible parts of New Zealand. When it comes to ecological recording, I don’t like to ear brush audio environments, so each sound you hear will be largely unedited, with occasional light high pass filtering for those low frequency wind noises. To close the work is a short piece recorded in the Waipoua Kauri forests, played on Kōauau by the talented Conrad Marsh, reconnecting human and environment through our strong Māori heritage. So let’s take a train out of Wellington city to experience nature reserves, wetlands, Te Awa Kairangi, and the dense Waipoua forest. Tēnā koe, Jimi

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#792: 2022.03.13 [kevin winser]

this edition of framework:afield has been produced in the uk by kevin winser. for more of his work, see https://infectedsenses.bandcamp.com/. producer’s notes:

This is a collection of field recordings all gathered on the same day, Saturday, January the 9th, 2021 during a social lockdown in Exeter, UK, due to the Coronavirus pandemic. It was also my birthday, so there was both personal and wider social context. […]

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#790: 2022.02.27 [manja ristić]

we can’t start this playlist off without publicly acknowledging the horrors happening in ukraine right now and expressing our solidarity with the ukrainian people and their undeserved struggle. we know most of you have already seen calls for donations and there are many opportunities local to where you may be to volunteer your time and effort, but here we’ll just pass on one more effort of possible interest to framework listeners, a way to financially support ukrainians on the ground and simultaneously devote your ears to some ukrainian listening: kate carr’s flaming pines imprint released this compilation of ukrainian experimental music back in 2019, and at present all proceeds from it’s sale are being donated to the ukrainian army and its support funds:

https://flamingpines.bandcamp.com/album/kaleidoscope

so please, if you were considering donating to framework this week, go and buy this album instead.

this edition of framework:afield was produced in croatia earlier this year by manja ristić. for more of her work see https://manjaristic.blogspot.com/.

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#788: 2022.02.13 [CENSE]

this is the first edition of an ongoing collaboration between framework radio and CENSE – the central european network for sonic ecologies (https://cense.earth/). the series is titled symptoms of evidence; each new episode is produced for CENSE by polina khatsenka and petra kapš, and premieres on radio punctum in prague, before being repeated a few months later here on framework. our thanks go to radio punctum for their permission to rebroadcast these shows.

Symptoms of Evidence mixtape series is focused on bringing the field of acoustic ecology closer to the local listeners and interested individuals, introducing field-recordings as a sonic tool for examining our sound environment and enabling us to gain a deeper knowledge on the consequences of environmental processes, together with possible solutions retrieval. further info on the network can be found on the webpage https://cense.earth/.

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#786: 2022.01.30 [nils mosh]

this edition of framework:afield has been produced in germany by nils mosh. for more of his work see https://soundofessen.com/. producer’s notes:

Comissioned by the Emschergenossenschaft U was exploring the soundscape of the Emscher River and making its conversion audible – from an open wastewater channel to a renaturalized and diversely revitalized watercourse. As of the end of 2021 the Emscher is officialy free of sewage, so my recordings of the dirt water are the last audio document of 100+ year history of the dirtiest river of Germany. In my two minute collage on Youtube (https://youtu.be/QNll4Ps8sJU) you can listen to a comparison between the dirty and the clean Emscher. In this radio program you can listen to some of the sounds in detail, hear sounds from my recordings along the 80km long river, that didn’t make it into the original collage and get more information on the river, background stories from the recordings and insights on my approach to listen to the now most expensive river of Germany.

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#784: 2022.01.16 [france jobin]

Bonjour, I am France Jobin, Welcome to these are a few of my favorite things.
As mentioned in earlier installments, my interpretation of field recording based works is very broad. however, the thread I like to follow is to find artists who have mastered their unique identity through the music of sound.
With this edition of my favorite things, it is my pleasure to showcase sound artists from Medellin, Colombia.

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#781: 2021.12.12 [ben link collins]

the last edition of framework:afield for 2021 has been produced in the united states by ben link collins. for more of his work see http://www.alabamafield.com/. producer’s notes:

There’s a lot that I could tell you about Big Bend, but I think for the sake of these recordings there are only two main bits of information you need to know.
First, as I said, Big Bend is on the U.S. Mexico Boarder, where in years prior the pandemic tourists could cross the Rio Grande River into Mexico to spend a day in a small town called Boquillas.  Since the border closing between the United States and Mexico, which fortunately will be ending soon, Boquillas has been completely cut off from tourism, which makes for the vast majority of the towns income for it’s 250-300 residence.  However, everyday tourists wade through the usually shallow waters to set foot in Mexico, and residence of Boquillas cross the border to fish, move ranch animals, and to layout displays of trinkets, jewelry, and souvenirs for U.S. tourists in Big Bend to purchase by placing money in a jar or aluminum coffee can, purely relying on the honor system.
The second thing you need to know is about the geological history of how Big Bend came to be.  The mixture of flat desert and abrupt extrusions of land into mountains and canyons is the result of something called the Western Interior Seaway, which was a body of water that bisected North America from the Gulf of Mexico to the Arctic Ocean up until around 60 million years ago.  Since then, rising tectonic plates and volcanic eruptions have raised the land above sea level. But the established land formations from volcanic eruptions, underwater sediment and ocean current, as well as fossils of the lives lived in the Seaway, are still in abundance and make up the surreal landscape.  In short, you are always aware that you are walking on an extinct ocean floor.

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