[microsound-announce] [framework radio] #538: 2015.12.20
. m u r m e r .
murmer at murmerings.com
Mon Dec 21 08:00:03 EST 2015
framework radio
phonography ::: field recording ::: the art of sound-hunting
open your ears and listen!
–––––––––––––––––––––––––––––––––––––––––––––
framework broadcasts:
- daily, 16:30 ::: vancouver, us ::: radio nouspace
[http://www.radionouspace.net]
- sunday, 12:00 ::: helsinki, fi ::: korppiradio
[http://www.korppiradio.net]
- sunday, 23:00 ::: london, uk ::: resonance 104.4fm
[http://www.resonancefm.com]
- monday, 05:00 ::: amsterdam, nl ::: concertzender
[http://www.concertzender.nl]
- monday, 23:00 ::: tartu, ee ::: generaadio
[http://generaadio.ee]
- tuesday, 04:00 ::: new york state, us ::: wgxc 90.7fm
[http://www.wgxc.org]
- tuesday, 12:00 ::: south devon, uk ::: soundartradio 102.5fm
[http://www.soundartradio.org.uk]
- tuesday, 18:00 ::: tartu, ee ::: generaadio
[http://generaadio.ee]
- tuesday, 23:00 ::: maribor, si ::: radio maršš 95.9fm
[http://www.radiomars.si]
- wednesday, 05:00 ::: london, uk ::: resonance 104.4fm
[http://www.resonancefm.com]
- wednesday, 16:00 ::: brighton, uk ::: resonance extra
[http://extra.resonancefm.fm]
- wednesday, 21:00 ::: helsinki, fi ::: korppiradio
[http://www.korppiradio.net]
- thursday, 19:00 ::: lisbon, pt ::: radio zero
[http://www.radiozero.pt]
- thursday, 23:00 ::: ulm, de ::: radio free 102.6fm
[http://www.freefm.de]
- friday, 02:00 ::: brussels, be ::: radio campus 92.1fm
[http://www.radiocampus.be]
- saturday, 08:00 ::: lisbon, pt ::: radio zero
[http://www.radiozero.pt]
- saturday, 14:00 ::: tartu, ee ::: generaadio
[http://generaadio.ee]
- saturday, 19:00 ::: new york state, us ::: wgxc 90.7fm
[http://www.wgxc.org]
~ time zone converter: http://www.thetimezoneconverter.com ~
for general info, playlists, podcasts, or to stream the latest edition
at any time: http://www.frameworkradio.net
––––––––––––––––––––––––––––––––––––––––
–––––––––––––––––––––––––––––––––––––––––––––
SUPPORT FRAMEWORK! your contributions make framework possible. please
consider signing up to become a regular monthly donor, or make a
one-time contribution. as a thank-you for your subscription of €5 or
more, or your one-time donation of €20 or more, we'll send you the
latest issue of our framework:seasonal release series! we can't do it
without you, and we greatly appreciate your support.
–––––––––––––––––––––––––––––––––––––––––––––
––––––––––––––––––––––––––––––––––––––––
#538: 2015.12.20
listen to this edition here:
http://www.frameworkradio.net/2015/12/538-2015-12-20/
This edition of framework:afield has been produced by students of the
University of the Arts, The Hage, in conjunction with Raviv Ganchrow’s
Aural Tectonics seminar at the Institute of Sonology.
Tramway, 00:55:00, Two channel audio
The following piece is the outcome of an intensive exploration of Den
Haag's tramway. This expansive public transport network, crisscrossing
the Dutch administrative capital, constitutes a site where distinctive
trolley acoustics cross-fade with every-day rituals, subjective
experiences and abstract temporalities. Taking the tram as a 'site'
rather than merely a sounding object, permits an exploration of the
various realms in which this specific form of transport is invested.
Each of the eleven contributions, in this fifty-five minute sequence,
explore a dedicated context of tramway audibility by developing diverse
strategies of recording, editing, audio tweaking as well as sonic
intervention. The result is a journey through various manifestations of
the Den Haag tramway. From textural and rhythmic studies; to
spatiotemporal and psychogeographic mappings; to social contexts and
imaginary narratives; the tram is guided along diverse realities that
are none the less firmly set in audible tracks.
The Aural Tectonics seminar at the Institute of Sonology explores
site-specificity and context-dependency of sound by fostering a critical
awareness of, and attitude towards, environmental ambiance. Founded in a
practice-based approach, the seminar develops site-dependent strategies
for listening, recording, mapping, synthesis and sound intervention.
Each year a particular location is chosen around which a sequence of
intensive projects are developed. Within that framework, alternative
approaches to 'hearing place' are fostered by adopting locational modes
of listening and encouraging personal approaches to contextual ambiance.
Participants:
Ruben Brovida, Izabel Caligiore, Kyriakos Charalampides, Colin Frank,
Michael Huntington, Ernestas Kausylas, Matús Kobolka, Martin Ozwold,
Julius Raškevičius, Stefano Sgarbi, James Wingard, Louise Wilson
Audio Mastering:
Ruben Brovida / Stefano Sgarbi
The Institute of Sonology website:
http://www.sonology.org
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!
–––––––––––––––––––––––––––––––––––––––––––––
[time / artist / title / description]
///////////////////////////////// 00:01:25
/////// Kyriakos Charalampides
Tram3_DH_Rhythmanalysis
tram 3 route from Den Haag Central Station to Fahrenheitstraat
An individual's daily routine is defined by the need of production. The
production chain requires from the individuals to present themselves in
a variety of places on the same day. This requirement creates the need
for transportation. DH tram describes interrelationships between the
motion of individuals and the production rhythms of The Hague. The DH
tram, as the production process, is characterized by a cyclical rhythm.
This rhythm originates from the linear nature of every tram route in The
Hague. The bus stops, the amplified announcements and traffic lights
define this rhythm and produce a daily timetable that describe the
individual's repetition and transportation routine. The
interrelationship between The Hague citizens and DH tram expresses
itself in a variety of ways. People face their presence on the tram as
an every day ritual. They declare their presence through the automated
check-in process and they find their own place in the space by
assimilating themselves to the tram environment. They speak on their
phones or listen to music in order to satisfy this daily tram ritual.
This bidirectional connection between tram and the people is also
revealed in the sonic environment of the tram. Passengers' body rhythms
are synchronized with the tram's mechanical rhythms as a part of the
assimilation process. Through this process the tram satisfies the
individual's expectations by creating eurythmic patterns. But if the
tram rhythm disappoints the individual, an arrhythmic pattern reveals
itself as an expression of this pathogenic situation. These patterns are
audible. The polyrhythmic nature between engine noise and a phone
conversation, as the rhythmic relationship between automated check-in
tones and footsteps, are plainly audible. Those factual patterns are
open to observation. This project aims to grasp the shifting, yet
determinate, complexity of these interrelationship through sonic
Rhythmanalysis.
///////////////////////////////// 00:05:03
////// Michael Huntington
Shift
Our perceived sonic environment is a product of a constrained sensory
system governed by chemical reactions, necessity and evolutionary
development. The deployment of novel miking techniques and extreme
amplification allows us the opportunity to expand and extend our
listening ear and thence ‘experience’ hitherto unknowable aural spheres.
The speed of sound in air is ~5% its equivalent speed in steel tram
rails. The tram-rail-network then, experiences a different and
considerably more immediate sonic reality than we, but to what extent
can this perspective shift be realised and truly experienced? Using only
recordings derived from the rails themselves, my aim was to inhabit and
explore the (possible) tympanic gulf between ear and steel and to
examine our capacity to temporarily exist in an alien environment, with
alien ears.
///////////////////////////////// 00:10:05
/////// James Wingard
From Beauty Corner to HS
Through habitual travel, otherwise passive commuters come to internalise
sets of auditory cues arising directly from the motions of their chosen
machines of public transportation. These cues become important markers,
situating the traveller instantly without the aid of other senses,
whilst other auditory information loses its importance, becoming
interference, despite its potential value. This piece is an attempt at
exploring that relationship between commuter and means of transportation
developed over many journeys along a short section of the Den Haag tram
network.
///////////////////////////////// 00:14:20
////// Louise Wilson
Bide Your Time
As part of my contribution to our Den Haag tram project I chose to focus
on the moment of 'waiting' which is so ingrained in the culture of a
public transport system user. The public transport system of any city, I
find, is a meaningful way to get to know your surroundings. Listening to
the dialogues of fellow passengers, watching the movements of people,
and passing through areas you might not otherwise, deepen your
understanding and enhance your experience of the environment.
Waiting is often one of my favourite aspects of travelling, I enjoy
watching the scenery roll by, dipping in and out of my book, people
watching, and day dreaming. Unforeseen, unexplained waiting is, however,
the worst. When you can longer relax and enjoy your waiting, as those
around you get more and more uneasy, waiting becomes a chore.
Den Haag acts as the seat of the Dutch Government and is home to many
international institutions, for example the International Tribunal for
the Formal Yugoslavia and the Organisation for the Prohibition of
Chemical Weapons. For these, perhaps naive reasons, I expected upon
moving here to find myself in a bustling city centre. I discovered the
opposite, Den Haag gives grand illusions on an internet image search
with its pseudo skyscrapers, but in reality it is a very calm, and
relaxed town.
My input to our radio piece is four minutes and thirty seconds of an
amalgamation of sounds which can be heard whilst waiting on a tram in
Den Haag.
///////////////////////////////// 00:18:47
////// Ernestas Kausylas
Tram Gap
///////////////////////////////// 00:23:17
/////// Izabel Caligiore
Untitled
My piece is divided into four sections that interplay with the idea of
the tram as a site. The voice becomes the basis of each narrative which
develops from the motif, morphing throughout. The ambiguity between the
imagined space and the synthesised or recorded sounds creates temporal
and spatial shifts, analogous to the experience of detachment. The sound
of an acoustic space, albeit simulated, is established, but then
subverted; and the listener enters another space.
///////////////////////////////// 00:28:15
/////// Martin Ozwold
Untitled
///////////////////////////////// 00:32:13
////// Julius Raškevičius
Interference of Thought
A ride on Tram line #3 takes me on an daily trip between
Grotemarktstraat and Heliotrooplaan in The Hague. Interference of
Thought is a reconstruction of a first person experience of that ride:
continuous from an observers perspective, but disjointed in terms of
what is heard, seen or thought. The key process in the unfolding of this
personal story is attention: divided or simultaneous, often
uncontrollable, it cuts out and highlights the events which are
experienced subjectively.
Trams offer a unique setting to observe the division between auditory,
visual and tactile perceptions. As I sit browsing my smartphone or
observing the passing streets and canals outside, the visual domain gets
mixed with the auditory domain of the moving, working machine. Noises of
the tram interject into my experience of virtual world of the internet,
cutting through it and disrupting my concentration. The opposite is also
true - the flow of banners, text and images molds the ambient sound,
masking the voices and altering the metal grinding sounds of the tram.
///////////////////////////////// 00:38:13
////// Ruben Brovida and Stefano Sgarbi
Intramezzo
This piece employs the tram as a musical score for voice. The piece was
performed live at the Den Haag Hollands Spoor tram station with a vocal
ensemble of three to four people. This stop, close by a busy railway
station, is a location where numerous parallel tram lines converge. The
presence of the tram triggers the singing and its approach and departure
works as an envelope guide for the amplitude (level) of the singing.
Waiting time between consecutive trams in the schedule determines the
timing of the events. The recording strategy utilizes various microphone
techniques: binaural, shotgun and XY. Different sonic perspectives of
the event are captured simultaneously and brought together,
compositionally, later in the editing process. As an artistic act we
take to the street, singing in a place that facilitates inner-urban
movement where people are mostly focused on their daily habits, and in
doing so we offer a non-moment of stillness.
Voices and supporters:
Sheyda Dashti, Joan Mena, Malgorzata Kozlowska, Yoram Grau
///////////////////////////////// 00:47:17
////// Colin Frank
Interior-Exterior Spaces Along Tram Line 1 (Scheveningen, Den Haag - to
- Tanthof, Delft)
This study focuses on the discontinuity between the tram's inside verses
the outdoor space it traverses. The interior of a tram contrasts with
the landscape it passes through: inside people are stationary and
passive, encapsulated by the squealing, rattling, and heat of the
machinery; while the exterior world exists primarily as images for the
traveller, bearing little if any visceral connection, and providing a
continuous stream of varying spaces.
I attempted to emphasize this relationship by studying a selection of
stops along The Hague's tram #1 line. As I travelled from Scheveningen
to Delft I would hop off the tram, record the area within walking
distance, then catch the next tram 10 minutes later. The data collected
was then edited in a manner that juxtaposes the sounds at each stop
against an amplified image of the tram's interior. To ensure the montage
emulates the line's length, I spliced the sound files together
proportional to the total distance, and condensed the one hour ride into
6 minutes of audio.
///////////////////////////////// 00:53:20
/////// Matúš Kobolka
Great Meals On Wheels
–––––––––––––––––––––––––––––––––––––––––––––
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––––––––––––––––––––––––––
–––––––––––––––––––––––––––––––––––––––––––––
framework
–––––––––––––––––––––––––––––––––––––––––––––
:: http://www.frameworkradio.net
:: info at frameworkradio.net
::
:: http://www.facebook.com/frameworkradio
:: http://www.mixcloud.com/framework_radio
:: http://www.frameworkradio.net/podcast
:: http://www.frameworkradio.net/donate
–––––––––––––––––––––––––––––––––––––––––––––
:: telliskivi 3
:: 65605 võru
:: estonia
–––––––––––––––––––––––––––––––––––––––––––––
mailing list: http://eepurl.com/lQBOT
More information about the microsound-announce
mailing list