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jeph jerman ::: insects in bamboo ::: 10:01

bamboo at night via contact mic connected to small amplifier inside my studio. recorded with a mini-disc recorder and stereo mic, and cleaned up on my laptop.

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loren chasse ::: furniture next to twilight ::: 12:57

(stroking, rubbing, scratching, plucking, sliding, pulling, pressing) listening to the surfaces of my living room at 933 dolores, san francisco 2000 (edited 2009)

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nuno moita & matteo uggeri ::: machines help us ::: 04:49

Field recordings taken in Bellavista and Villanova di Bernareggio. thanks to Zio Bruno who drove the tractor.

Nuno Moita (turntable, electronics), from Portugal, is the owner of Ristretto and Grain of Sound label, know in the experimental area for publishing artists like Manuel Mota, tu’m, Sawako, Quiet American, Terre Thaemlitz, Lawrence English, Paulo Raposo and others. Nuno has also released his own stuff as ?Stilb? and he’s part of Stapletape collective. Since its first edition in 2001he’s the director of the Sonic Scope music festival. He’s also the diirector of the audio-visual festival, Mascavado, founded in July 2006.

Matteo Uggeri (field recordings, mixing) is Italian and plays music since 1994 under various names, one of each is “Hue”, an alias that he mainly uses for his field-recordings based records. With Telepherique, Maurizio Bianchi/MB, Fhievel, OvO, Amon, De Fabriek, Giuseppe Ielasi and other musicians he made several records. He also plays in the electronic postrock band Sparkle in Grey. He played in several gigs in Italy and abroad, i.e. in Staalplaat in 2007.

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felicity ford ::: celebrations ::: 06:23

Track info – all tracks recorded by Felicity Ford on Edirol R-09 using inbuilt mic

Sources: home firework displays, kids and stones and a river near Dent in the lake district in the UK, exploding candy, popcorn, fizzy water, champagne, the waterfall in Clovelly in the UK, the volcanic ground at Solfatara in Italy, a bonfire in East Sussex in the UK, rain on the tent whilst camping along the West Highland Way in Scotland and a fizzing hangover tablet.

Other writings about radio and my work – Felicity Ford enjoys experimenting with the entire format and context of the radio show as a destination for her projects. She has been a sporadic contributor to Framework since 2005 when she stumbled across the show on Resonance FM and promptly recorded a Framework intro in the bath. Since this auspicious beginning, she has gone on to create radio shows of her own on themes as divergent as the design of mobility aids, (The Missability Radio Show) fantastical representations of ordinary reality, (The Fantastical Reality Radio Show in association with Mundane Appreciation) and the domestic soundscape (The Domestic Soundscape Cut and Splice podcast series.) Felicity Ford also creates radio features for The Hub on BBC Oxford. Linking these divergent projects is an ongoing fascination with unspectacular reality, a feminist preoccupation with domestic space and the gendering of various crafts and materials, and a deep appreciation for both the online and offline communities that surround podcasts and radio shows.

In the final year of her PhD looking at presenting everyday sounds to audiences and the domestic soundscape, Felicity Ford is hoping to explore instruction scores, sound-walks, text-based projects and performance. She is currently collecting sounds for a rendition of Alvin Lucier’s Gentle Fire, developing a sound-based Zine entitled Play, and walking along the road she most regularly drives along, in order to experience its local and minute sounds from outside of her car.

Celebrations has been specially collated for [framework250] from Felicity Ford’s ongoing collection of sounds that are caused by, or sound like, explosions and fireworks.

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tarab ::: untitled artefact ::: 10:34

All sounds captured or made while on “artefact tour” central and western Australia sept 2009. Thank You to Camilla Hannan and Thembi Soddell.

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murmer ::: many hands, no eyes ::: 12:44

photos: laura elcere

in early 2008 latvian artist maksims ?ente?evs and i led a workshop in tartu, estonia entitled sound as space / sound as language. our activities included intense acoustic explorations of our shared space, in this instance tartu’s genialistide klubi, using found objects and elements of the space itself, and a blind soundwalk, in which participants were led individually with closed eyes through an extended many-handed soundscape inhabiting the entire building. this composition has been created from recordings made of our collective activities. many thanks go to all the soundmakers: siim angerpikk, teresa heinonen, mari jıgiste, aleksei kasnel, karl laanekask, kaj lahtinen, triinu lille, diana lohmus, eija mustonen, laura paju, tuukka seppala, anni terava, sven vabar, kristel vali, aleksei zaitsev, kaspars kalni??, laura elcere, and maksims ?ente?evs.

participant sven vabar had this to say about the experience:

members of our group reminded me of some children who have come home with some weird creatures, like kittens or toads or butterflies or huge beetles or midges. and they are not sure whether their mom will be happy about those creatures or not. but it was nice to see how our members after a short while set all their creatures free in the big house where the workshop was held. the house became full of small bold creatures whose names nobody knew. and it seemed to me to happen that the people who brought along all those strange creatures vanished, became unnoticeable or like shadows compared to those sonic creatures, who became much more real.

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scott sherk ::: victor’s lament ::: 04:16

Victor’s Lament is a monumental steel and cable sculpture by Mark di Suvero on the Muhlenberg College campus. In heavy winds the suspended I-beams swing back and forth sending vibrations through the solid steel structure and its steel cables. I often tried to record this ?lament?, but was only successful when I attached piezo discs to both the metal I-beams and the steel cables. The recording was made with homemade piezo contact mics, DIY buffer boxes, and an Olympus LS-10 on a freezing cold day in Pennsylvania.

Scott Sherk is a sculptor who often works with sound. He work has been widely shown including exhibitions at the Katonah Museum of Art, the Allentown Museum of Art, and the Kim Foster Gallery in New York, New York. He has released a collection of field recordings from Iceland on Wandering Ear. He is currently working on a collection of recordings of 23 fountains of Beverly Hills.

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steve roden ::: six small storms ::: 05:40

working with two simple sounds. 1. two strings plucked on a guitar. 2. a 1930’s 78 rpm sound effects disc of a rain storm. the disc has been treated to six different EQ settings. recorded at the bubble house, 2009.

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peter cusack ::: rail contact hoverfly ::: 01:28
peter cusack ::: rail contact trains ::: 01:41

as a field recordist not only do you discover fascinating sounds, but you are also regularly given instances of how you, and what you are doing, are regarded by others. it is very interesting how this differs from place to place. currently security paranoia is a major issue; certain countries will allow recordings that in others would result in arrest or searches under anti terrorism laws (the latter has happened to me several times in the UK).

the Czech Republic is a joy in this respect. these recording are contact mic recordings of rails as trains run at speed over them. i was completely undisturbed while making them. people in Prague often walk beside tracks and cross them at any point if need be. a railway employee even suggested that we go inside the tunnel in full view of the main station to record there. it sounded great.

1) rail contact hoverfly – whilst recording the internal sound of a rail track with a contact microphone a hoverfly chose to use the mic as a display platform. It’s buzzing is a truly bizarre combination with the rail hums.

2) rail contact trains – the internal sound of a rail track as two train pass by. the first is actually on the adjacent track so is transfered sound from 10metres away. the second is on the same track that the mic is attached to.

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keith berry ::: archipelago ::: 10:06

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toshiya tsunoda
::: vibration of the rope of a fishing boat under moor 12.aug.09 matsuwa, miura ::: 09:34

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maria balabas ::: in principio erat verbum ::: 08:59

Maria Balabaş is one of those characters you don’t really know exactly how to define: much more of a fragment than a continuous line, color more then work method. The parents told her: “music!” and from then on, in a way or another, the sounds made order into her ages (otherwise her ideas upon her own person maight look a bit odd)….first she played the piano, after – she touched the guitar…in a folkish way; after that she discovered the writing table and she started to write about music, then she cut the magnetic tapes in the radio….long time….after a while, together with her brother and some other good friends, she discovered she can think about music in new ways. Telling the stories she never told before.
It’s about this and about trying to find a way to be personal in a fragmented world.

This piece….a strange mixture of the things with a lot of influence, even I am not always aware of it. But for sure, my everyday life was another 5 years ago. My thoughts also…..I tried to make a sense out of small parts – all with their role in this present.
Of course., the description wouldn’t match exactly the point…..

maria maria: welll…..I used only recordings I did from different events….no connection between them. the fragments had mistakes…those beeeeps or so
maria maria: but I decided to make space for them also
maria maria: most of those musical events had mistakes in the way the organizers considered the music itself
maria maria: after….I took a recording from one of our “concerts”
maria maria: an old romanian romance
maria maria: but it’s only the melodic line that one can recognize
maria maria: the way we played it…..has nothing to do with the song itself
maria maria: the idea…I think….it’s that the SONG is always present during the LIFE
maria maria: no matter how one finds it….
maria maria: and how hidden it is under mistakes and misunderstandings
maria maria: in the end….I felt the need to go out of this line
maria maria: so – I looked for a quote everybody can understand
maria maria: and I found those Bible words
maria maria: but there was also this “nowadays mark”
maria maria: “recorded in Texas…etc”
maria maria: so – this matched also the previous idea
maria maria: and more – it’s not about understanding the words
maria maria: but feeling the voice….maybe
patrick: 🙂
maria maria: the words are not important
maria maria: I didn’t understand nothing of those events
patrick: that is clear
maria maria: haha

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asmus tietchens ::: FMF 4/1A ::: 05:07

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keith de mendonca ::: 4 nights in lhasa ::: 07:14

I made a short visit to Lhasa in August 2009 to celebrate my birthday – which fortunately coincided with a large local festival in and around the capital. This festival attracted a large number of people into Lhasa from surrounding areas – adding to the air of excitement and celebration found in the temple fairs, monasteries, and around the old part of the city (as well as an increased military presence on the streets).

“Four nights in Lhasa” presents my impression of the festivitives, the celebrations and the religious devotion I witnessed in Tibet during this brief moment of time.

Sources are:
rubbish collector – near Lhasa mosque
Monks chanting in Ganden monastery
Walking amongst pilgrims circling a shrine – Tsepang.
Single drum – Sera monastery
Work songs whilst tamping down a new roof surface – Ganden monastery
Two pilgrims singing & clapping – Shotun festival
Elderly monk & silent devotee circling a shrine – ganden monastery
Two monks chanting with drum and cymbals – Ganden monastery
Prayers outside Jokhang

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seth nehil ::: twine :::06:59

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martin clarke ::: three ::: 07:00

Recorded in Wszerzecz, Poland in May 2009.

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maksims šenteļevs ::: river dam performed ::: 10:26

Site-specific research project: Soundscape Mapping
In Raminten Forest, Recorded during Kaliningrad Sound Art camp, July 18-27. 2009.

Soundscape Mapping is a site-specific research project that implies field recording and field mix techniques in observation of small structural units in the environment. The main focus of the project is to uncover and record tiny sounds naturally left beyond hearing.

River dam.
Material: Wood in water stream.
Recording: 8 piezo transducers attached to timber planks, Stereo mixer. Mixed and recorded on location in real time.
Location / Time: 23.07.09. Late aftrnoon-early evening. Forestside river, popular amongst beavers. Though dam captured on recording is obviously man maid. Pine trunk laid across the river is fixed with stones and finished with vertical timber planks fixed from the stream side. 7 piezos were selectively attached to dry tops of timber and one piezo to trunk itself. Recording was accompanied by appearance of local DJ from Krasnolesje village and dog that has nothing to do neither with DJ nor with recording, though both were highly entertaining. DJ participated in recording – made his own fieldmix, while dog tried to steal sandwich (she got it in the end).

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hitoshi kojo perruel 07:03

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dallas simpson ::: M25: radio / traffic ::: 07:00

Taking the M25 as a real and conceptual boundary for the reception of Resonance 104.4FM on the outer perimeter of London, this work explores the aural experience of a drive, with the windows down, around a section of the M25 on 5th september 2009 between 3:30 and 5:00pm, while intermittently listening to Resonance FM live off air. Recorded as a continuous live single take using custom binaural techniques for headphone listening, all sounds are live and unprocessed. Edited and mixed by dallas simpson. Live off-air radio extracts received during the recording courtesy of Resonance 104.4FM.

This work was especially created in support of Framework and Resonance 104.4 FM. Please donate generously.

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eric cordier ::: montchaibeux ::: 10:19

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