[microsound-announce] [framework radio] #517: 2015.06.21
. m u r m e r .
murmer at murmerings.com
Mon Jun 22 06:24:41 EDT 2015
framework radio
phonography ::: field recording ::: the art of sound-hunting
open your ears and listen!
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#517
listen to this edition here:
http://www.frameworkradio.net/2015/06/517-2015-06-21/
this edition of framework:afield has been curated by john levack drever
and produced by the students of his phonography course at goldsmith's
college, university of london, uk. some notes from the curator:
"Short excerpts from a selection of this year’s Phonography students at
Goldsmiths, University of London, a course that through the art of field
recording explores the perceived interrelation between concepts of
sound, noise, hearing, listening, environment, atmosphere, architecture,
memory, space, event, site and nonsite, place and non-place. The course
is run by John Levack Drever with assistance from Emmanuel Spinelli.
Passages for the Ear has been compiled and mixed by Drever."
again, we are always looking for new material, whether raw field
recordings, field recording based composition, or introduction
submissions. we are also now accepting proposals for full editions of
our guest curated framework:afield series. send proposals or material,
released or not, on any format, to the address at the bottom of this
mail. if you have any questions, please don't hesitate to get in touch!
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[Passages for the Ear]
0’00 Daniel Harvey Summer Solstice
An attempted study of the event and the attendees of the summer Solstice
Free festival at Stonehenge, June 20th. By using binaural microphones to
discretely record the interactions, and to enable the listener to
experience the event more intimately, this study was to record the ebb
and flow of the spontaneous and celebrated the ritualization of what a
free festival stands for… I have attempted to show as much about the
various groups that ubiquitously come together under a common ground and
attempt to address the issues that arise when such a large group of
people exist in such a small amount of space… The theme of contradiction
and contrast is a main focal point of this study and one major point
that dominates the whole atmosphere is what Will Self refers to as the
‘museumification’ and commercialization of the site by English Heritage
itself.
3’28 Matthew Lawrenson West Coast Tours
A composition based around a series of field recordings I made on a trip
to the west coast of America in the summer of 2014. As a tourist I
experienced a series of snapshots of this vast country and was
interested to see the composition that resulted from this brief
immersion in American culture.
6’34 Jack Newton Saudade
This piece is comprised of layers that assimilate the present with
memory and attempts to position the material in order to create a
realistic interpretation of the present. The piece is mainly inspired by
the feature film Lost in Translation as well as poetry that focus on
experiences of nostalgia. The sound sources are recorded in several
different locations that relate to each other and crossover as memories
within the present.
10’05 Laura Clough The Loin Park
Does ecotourism really benefit the environment? What is mankind’s
fascination with the exotic, and the tourism-tourist industry worker
relationship? I think about these issues in relation to the popular
tourist destination Lion Park, Gauteng South Africa, where I recorded
the raw sounds for my piece.
14’30 Phoenix Martins Auditory Trainspotting
A nostalgic auditory view point of my early childhood memories of being
on trains, wondering where the voice of “mind the closing doors” and
“mind the gap” were coming from an hoping, I wouldn’t fall into the gap!
Also encapsulating moments of tranquility, and merging the sounds of the
trains with electronica to create textures and generate a feeling of
other-worldly-ness. To achieve this, I collated field recordings from
various train rides including, southern trains, underground and
overground lines.
18’30 Jonathan Brennan A Reflection; Patient 1 & Patient 2
A hospital is a place that triggers vast depths of connotation. There
are very few that live in today’s western societies who have not
encountered such a place in one shape or form. It is a place of sorrow,
fear, repair, shelter, understanding, confusion and more. And then even
perhaps not a specific place at all, a “non-place”. “A Reflection;
Patient 1 & Patient 2” 2 is an extended sound work that exposes the
sonic textures of the modern hospital and explores the interactions
between these establishments and their subjects.
23’36 Jonathan Coote
Can phonography go beyond representation and communicate political
thought? Can it be used as agitprop? Field recordings include the TUC’s
Britain needs a Pay Rise demonstration, 18th October 2014, national
student demonstration Free Education, 19th November, and Karl Marx
grave, Highgate Cemetery.
27’50 Calum Lynn
I have been exploring the subject of energy production, and how it
intersects with the liminal, post industrial landscape, in this case,
South East Northumberland. A main aim of my composition was to focus on
the sound of electricity producing wind turbines; a regular sight across
rural and semi-rural Britain. The visual impact of these structures is
well noted, for both their uniform and arguably iconic appearance, and
the controversy that arises when they’re placed in rural areas deemed to
be naturally beautiful. However, the sonic aspect of wind turbines is
often unacknowledged, in part due to their inaccessibility and exposed
placement. I wanted to use the sound of these structures as a way of
exploring present day energy production in an area that was until
recently so reliant on the heavy industry of mining and traditional coal
fired power stations… I wanted to explore these accidental sonic
implications of renewable energy, as well as how they fit into the
existing histories, geography and sense of place within the region, also
exploring the links between industrial, rural and urban, which have
become increasingly fluid in post-industrial society; outlined in this
region by the adaptation of former quarries, collieries and power
station sites into nature reserves, blurring the boundaries of what
constitutes ‘real’ countryside.
34’30 Joseph Smith
All the sounds revolve round a central idea of cold and hot. The thought
that Iceland seemed to be rife with the two extremes hit me as I was
watching the Northern Lights shimmer through the haze of sulphurous smog
from the tub of 40°c geothermal waters in which I sat, while my face and
hands were slowly frozen solid by the -15°c wind chill… The intentions
of my project were to explore the sounds of a remote place, be they
alien or familiar and try to discover a musicality that runs through
them all in the creation of a hyper-real soundscape.
36’30 Tom Moore
I set out with the intention of creating a piece based on quite raw,
unedited natural sound – local wildlife, weather, effects of the
seasons, the river itself at various points. Through reflection on the
process of actual field recording I reconsidered my original approach. I
settled on creating a piece more reminiscent of a soundwalk, or rather a
‘sound-journey’. I found myself concentrating on capturing sounds purely
for their aesthetics, even interacting with environments to enhance
these sounds. I recorded footsteps in different places, threw logs into
the river to create splashes, and opened different metal gates as I
walked. The field recordings were made in rural mid-Norfolk in December
2014.
41’00 Emily Ady A Daughter’s Response
I used this project as a way of exploring two completely different
worlds and soundscapes by comparing and contrasting the physical sound
worlds, narrator’s familiarity and reaction to surroundings and the
context in which we as narrator and audience stand in these worlds. I
also wish to explore both sets of surroundings by looking at movement,
the exploration of the space and recording techniques. I also explore
the themes of familiarity and alien, mother and child relationships,
personal narration, noise, “favourite sounds”, archive and how the
overall structure and techniques relate to these themes.
42’30 Samuel Hatchwell
The perceived concepts of space and varying types of space play a
serious role in its relationship with social anxiety. Different theories
on space such as topophonobia and ochlophobia, with specific relevance
to claustrophobia, agoraphobia and enochlophobia talk about an
association with fear and anxiety within certain soundscapes due to
multiple different factors. For example, a space with a higher level of
noise pollution may incite fear for a topophonophobic if that person is
prone to claustrophobia or social anxiety. This inherent fear associated
with certain spaces and their sounds is what drove the intention for the
composition.
The composition explores these relationships and how different social
atmospheres affect subjects prone to social anxiety. As well as this
link, the composition also looks at the connection between theorized
sound concepts and the effect they have on the subject within the
inhabited space. The piece acts as both a commentary on these
relationships and as a social experiment on how anxiety functions under
consistent conditions in varying spaces.
48’30 Rodrigo Barbosa Camacho Sublimation
“Last call, towards being the space”
– At some point all mothers must
have called for a son or a daughter so they shall come for dinner.
Everyone knows what’s that, however we all do it differently. There is a
lot in it to do with style! ... And not that much with circumstances.
The space is all a stage and there are no stages in this place. Everyone
has something to do, and there they go, meeting their affairs. We talk,
we eat, we play, we fuck, we eat some more, we complain about the bad
things, we send kisses here, we send kissed there, we clap and watch
some cruise-ships through some palm trees. All children grow and become
parents; then parents grow and become plants. In the end of the day, all
is gasoline so one may go to work, but there are plants called corn,
that if decently ground and cooked, with broad beans and nice dark green
cabbage, could not be better than goodness!
Craving now for a juicy tuna stake.
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framework intro submissions:
1) take yourself and an audio recorder to a location of your choice
2) record for AT LEAST 1 minute before you -
3) read aloud the following text (in english or translated):
welcome to framework. framework is a show consecrated to
field-recording, and its use in composition. field-recording,
phonography, the art of sound hunting; open your ears and listen!
4) continue recording for AT LEAST 2 minutes after the text
5) post the
recording to us on any format, or send us an mp3––––––––––––––––––––––––––
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framework
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