#816: 2022.10.02 [mark vernon]

this edition of framework:afield, entitled a world behind this world, has been produced in scotland by regular contributor mark vernon. for more of his work see http://meagreresource.com/. producer’s notes:

A World Behind This World is a composed soundscape created from sounds recorded on location at the Scottish Sculpture Workshop in Lumsden, Aberdeenshire and the surrounding areas.

Depending on how you look at it – this is either an expanded version of the album released on Persistence of Sound earlier this year – or a condensed version of the original two-and-a-half-hour longform broadcast produced for Scottish Sculpture Workshop’s radio station, Lumsden Live in 2021.

In addition to sounds of the rural environment – recordings of various machines, equipment and processes from the workshop feature heavily. ‘Performed’ by technician, Eden Jolly, sound sources include the copper guillotine, extractor fans, electrical saws, drills, the furnace, welding torches, anvils, hydraulic jacks, sanding machines, grinders and electric hoists. The piece also features a recurring refrain made from the eerie sounds of the wood pellet burner that kept me awake for most of the night when I was staying on site.

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#814: 2022.09.18 [blanc sceol]

this week’s edition of framework:afield, the first back after our summer break, is entitled river-land listening, and has been produced in the uk by blanc sceol. for more information see https://www.blancsceol.co.uk/. producer’s notes:

In 2021 we invited a group of local artists who work with sound, to participate in our piece ‘River-land Listening’, a silent walk at low tide through the muddy bed of the Channelsea river in the borough of Newham, London. We asked the artists to explore the particular sonic narratives and topography of this inter-tidal zone, each one live streaming their experience. This audio piece presents a mix of the recordings of the live streams from each the nine artists who completed the walk, providing a space for low-tide contemplation of this river. The walk was created for Sound Camp’s ‘Off Grid’ program in 2021, and in association with Surge Cooperative, part of a series of local engagement activities proposing common actions with those connected to the river or local to the area, and encouraging collective efforts to protect and celebrate its rich natural heritage.

River-land listening was developed, recorded and edited by Blanc Sceol, artists Stephen Shiell and Hannah White.

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#812: 2022.07.31 [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 walking & psychogeography.

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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#810: 2022.07.17 [paul mallatratt]

When I pitched my idea for this Framework:afield episode I was on an 11 date UK tour with the band I play in, visiting the major cities in England and Scotland. As I always do now, I took my trusty field recording equipment with me with the idea of capturing what it sounds like to be on tour. A bit like they say in the Spinal Tap film, “the sights, the sounds, the smells of a hard working rock band on the road”.

Many people will have attended live music events but unless you’re the one performing you might not know what it sounds like back stage. In this episode you’ll hear what I heard on the road in the UK and Europe during tours between March and early June 2022. As you’ll hopefully gather, it’s not all glamour, there’s a lot of heavy equipment being moved around, and while each day is different they are also quite similar.

The sounds presented here are not in chronological order, but instead weave a narrative from start to finish; from flying out to start the tour, right through to the final live show, and packing up afterwards, and everything in between. I hope you enjoy the ride.

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#808: 2022.07.03 [john f. barber]

this edition of framework:afield has been produced in the united states by john f. barber. for more information see http://www.nouspace.net/john/. producer’s notes:

Dawn Birds, Light Traffic, Melodic Machines is a 58:00 sonic narrative collage composed of field recordings from different places—Dubai, Victoria, and Vancouver—at different times. This combination seeks to foreground, through either sonic simularity or serendipity, soundscapes that are representative of fluid time and place but solidly grounded in rich listening experiences.

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#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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