[microsound-announce] [playlist] framework - 25.10.09 (#255)

Sun Oct 25 16:25:29 EDT 2009

/*framework*/ - phonography / field recording; contextual and 
decontextualized sound activity
presented by patrick mcginley

/*framework*/ broadcasts:
    - sunday, 10pm, london, uk on *resonance 104.4fm*  
(http://www.resonancefm.com)
    - tuesday, 2pm, london, uk on *resonance 104.4fm*  
(http://www.resonancefm.com)
    - wednesday, 12am, thessaloniki, gr on *cooradio* 
(http://www.cooradio.com)
    - wednesday, 3am, lisbon, pt on *radio zero* (http://www.radiozero.pt)
    - thursday, 7pm, lisbon, pt on *radio zero* (http://www.radiozero.pt)
    - friday, 1am, brussels, be on *radio campus 92.1fm*  
(http://www.radiocampusbruxelles.org)
    - saturday, 5pm, south devon, uk on *soundartradio 102.5fm*  
(http://www.soundartradio.org.uk)

~ time zone converter:  http://thesaturnv.com/converter.html ~

*for general info, playlists, podcasts, or to stream the latest edition 
at any time: http://www.frameworkradio.net *
*framework is supported by /soundtransit/: http://www.soundtransit.nl *

*******************************************************
*/FRAMEWORK/ NEEDS YOUR SUPPORT!*
*******************************************************
your subscriptions & donations help make the production of /*framework*/ 
possible.  visit out website to find out how to become a regular donor, 
or make a one-time donation here: 
http://www.murmerings.com/donate.html.  25% of all donations go to 
*resonancefm*, without whom /*framework*/ would not exist. (if you would 
like to donate directly to *resonancefm* please visit their support page 
here: http://www.resonancefm.com/support.)
*
PLUS, IN CELEBRATION OF FRAMEWORK'S 250TH EDITION, DONATE €25 OR MORE 
AND RECEIVE A COPY OF THE FRAMEWORK250 2CD COMPILATION! (shipping 
december, 2009)*

------------------------------------------------------------------------

*25.10.09

*this edition of framework:afield has been produced in udine, italy by 
giancarlo toniutti.  for more information you can see his website (still 
under construction) at http://www.quasi-rn.org.  giancarlo has this to 
say about his show:

    *khoe dullinëng rungs shëts*
    /(he told a story while walking)/

    This radio work has been conceived as an ambient form of narration.
    The idea was to take the recorder with me, while walking late at
    night through different environments. Mostly habitual environments.
    But while nightwalking I discovered more interesting "location"
    sounds, than anything else, and turned the project into a
    resonance-oriented gathering of different specific local events,
    bounded by a narrative structure. These "local" events had to do
    with three main categories of sonic phenomena: ambiences, electric
    hums, resonances. And several times these categories evidently
    overlap. Hence all sounds are "natural" sounds. Therefore the old
    question is: what is "natural"? And natural in comparison/opposition
    to what? Unnatural? Artificial? Cultural? In effect, all phenomena
    you can hear in this work are properly as they presented themselves
    in their environment (editing has been the only technique employed
    in composition). Yet they derive from the interaction of the "local
    events" (the resonant materials) with the microphone system. If what
    we hear is a "natural sound", and a "natural sound" is what we hear,
    there is a paradox here, because actually many of these sounds
    wouldn't be usually heard in normal conditions; sometimes masked by
    louder sounds, other times they simply pass unnoticed and mingled as
    background, or they only stem from the interaction between a
    resonant material and the microphone. Of course, several of these
    sounds could be labelled as "anthropic" phenomena, but phenomena
    mostly not aimed at the generation of any acoustics, which results
    as a by-product of the main goal of the system in action.
    Thus we are confronted with a new question: are all sounds cultural?
    Because we define them (by hearing, and then recording, selecting,
    editing and framing and listening to). But mostly because we decide
    to define them, give them a name, a source, a "representation".
    Even, when we do this, we separate them from their background, thus
    applying a certain (acoustic) meaning to them as local forms, and
    consequently by forming categories, and filling them. And in the end
    coming to something like the "natural" vs. "cultural" opposition.
    And yet, the background itself is not inert.

    All recordings are from my home town, Udine, and mostly from my own
    surroundings, mainly gathered late at night. All sounds are
    generated within (or captured by) the interaction/relationship
    between "natural" acoustics of diverse kinds, with a hidden resonant
    character, and the microphone system. Small sonic microclimates,
    "naturally" resonating (due to many reasons, including wind,
    mechanic vibrations, and the interaction between systems). As said,
    as a radio work, it tries to "exploit" the medium in its
    possibilities and probabilities, and in its intrinsic narrative
    nature, as I see it, not necessarily linear, but nevertheless
    consistent.

    Sources: environmental sounds (steps, cars, dogs, pavement, bicycle,
    crickets, doors, barriers, hooters, airplane, rings, wind, voices,
    manhole covers, bats, crockery, motorbikes, shutters, trapdoors,
    trains, raindrops, bus, rubble, level-crossings, birds, leaves,
    brakes, metal chains), resonances from various metallic structures
    (gates, grating, fences, handrail, wires, bicycle racks), drones
    from air conditioning stations, a pedestrian wooden bridge, the town
    water channels, a large city fountain, a theatre outdoor hall, the
    microphonic systems, several electric hums from streetlights and UPS
    street stations, a stone wall.
    Equipment: portable dat recorder, condenser microphones (80%),
    self-built contact microphones (20%).
    No analogic or digital treatment (no eq). Digitally edited.
    Recorded 23-31 may 2009, in Udine, Italy. Composed and mixed down
    1-14 june 2009 in 'the black room', Udine.
    Title is in Ladakhi, Sino-Tibetan language spoken in Ladakhi
    district of Jammu-Kashmir state, India.

again, we are always looking for material for the show, whether raw 
field recordings, field recording based composition, or introduction 
submissions.  we are also now accepting proposals for full editions of 
our guest curated series.  send proposals or material, released or not, 
on any format, to the address below.  if you have any questions, please 
don't hesitate to get in touch!

framework
tartu mnt 41
63710 ahja
polvamaa
estonia

info at frameworkradio.net

------------------------------------------------------------------------

framework intro submissions:

1)    take yourself and an audio recorder to a location of your choice
2)    record for /AT LEAST/ one minute before you -
3)    read aloud the following text:

*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!*

*/[3b)  please also feel free to translate this text into your native 
tongue!] /*

4)    continue your recording for /AT LEAST/ two minutes after you have 
finished speaking
5)   post the recording to us on any format, or send us an mp3

thanks!

------------------------------------------------------------------------
drop a note to info at frameworkradio.net to be added to or removed from 
this mailing list
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://or8.net/pipermail/microsound-announce/attachments/20091025/f6c92d0d/attachment-0001.html>