[microsound-announce] [framework radio] #611: 2017.09.24

. m u r m e r . murmer at murmerings.com
Tue Sep 26 07:30:55 EDT 2017


framework radio
phonography ::: field recording ::: the art of sound-hunting
open your ears and listen!

for general info, playlists, broadcasts, podcasts, or to stream at any 
time: http://www.frameworkradio.net


#611: 2017.09.24
listen to this edition here: 

hi folks - a small side note: i made a small appeal on facebook this 
week. over the last few months we've lost several of our (financial) 
supporters, and we hoped to entice a few more of our regular listeners 
into supporting the program with a small monthly donation. unfortunately 
our plea, while garnering many likes, several shares, and apparently 
reaching over 800 people, produced precisely zero new subscribers, and 
only one donation. so we're extending the plea further: if you'd like to 
see framework radio continue, and you are not already a donor, PLEASE 
consider signing up to make a monthly contribution towards its upkeep, 
AS LITTLE AS 1€ PER MONTH, or 5€, or 10€. it's very little, but it's a 
great help to us. or at least make a one-time donation of an amount of 
your choice. and don't forget that if you do, you get to pick from 
amongst the great framework editions releases as our thanks to you 
(issue #9 is now in the works). visit the framework website and look at 
the donations bar on the right side of every page to see how you can help.

but now on to the show - this edition of framework:afield has been 
produced in the uk by paul ratcliff. producer's notes:

Yorkshire Soundings

You are going to hear a collection of sounds from the region of 
Yorkshire in the North of England, UK. This collation is the culmination 
of four years of field recording practice and is arranged to show both 
the sounds of human-made constructions, what Krause would call 
Anthrophony, and also the natural history sounds found in the urban 
areas of the county. It starts with renovated Victorian machinery, 
sounds from the past, passes though the common and less common sound of 
a modern city, using both close proximity omnidirectional and contact 
microphones to expose outer and inner workings of the places we live. It 
develops into an exploration of the sonic relationship between our 
wildlife and our machines and finalises with dusk and dawn recordings 
from ancient woodlands of the area. Many of the recordings were made 
after hours and days of waiting for the phenomena to occur, but there 
are also chance happenings in this composition, found through pedestrian 
explorations made around the region. In part this work questions our 
engagement with the environment, as we thermally, and as a result 
sonically, insulate ourselves for the sound of the world around us,…… it 
suggests that we listen more, walk more and explore more. It also 
challenges our UK-based seasonal behaviours as we move from home to 
transport to work and back again, only venturing outside in the summer 
months… as many of these recordings are made in winter, autumn and 
spring. It additionally questions our relationships with places after 
dark, for although this is a sound-based exploration, many of the 
recordings are made at crepuscular times. It suggests in-part that we 
need not venture too far from home, as these recordings are essentially 
from my neighbourhood. Although these are all sounds recorded in 
Yorkshire, they do not include sounds of regional or commercial 
development, instead these sounds might be heard as heritage sounds, 
sounds of past industry, sounds of industrial decay, sounds of 
transportation and natural history sounds. These are not the sounds of 
people, but instead the sounds of some of the objects they produce and 
these are not the sounds of wilderness but instead the sounds of natural 
history co-existing with humans in a North England county.

To hear more:

Thanks go to: Alan Dunn, Steve Parker, Ben Challis, Tom Jackson and 
Brian Larkman

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!


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.


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 

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