[microsound-announce] [framework radio] #674: 2019.05.12
. m u r m e r .
murmer at murmerings.com
Mon May 13 04:36:29 EDT 2019
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phonography ::: field recording ::: the art of sound-hunting
open your ears and listen!
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#674: 2019.05.12
listen to this edition here:
http://www.frameworkradio.net/2019/05/674-2019-05-12/
patreon campaign progress report:
73% towards our initial goal (up from 71%)
3 new patrons since last playlist
want to help? http://www.patreon.com/frameworkradio
forgive the intrusion of this 'progress report', but it's essential that
i find a way to garner some response. after more than a year we are
still only 73% of the way to out *minimum* support goal. until we at
least reach that goal, i think i need to keep this progress at the
forefront of all framework communications. i'm open to feedback about
this - please tell me if you find this too intrusive, or if you have
other, better ideas for how i can raise active support. i would prefer
*never* to have to ask for support on the air, or in the playlist, but
until some basic level is reliably established, please understand that i
have to try something.
but on to the show - this edition of framework:afield has been curated
by iris garrelfs, and features extracts from field recording based
compositions created by her phonography students at goldsmiths,
university of london. each extract encapsulates the student’s individual
approach to exploring some of issues encountered within field recording
and soundscape composition practices. for more information on iris'
work, and the course itself, see:
http://irisgarrelfs.com
https://www.gold.ac.uk/ug/bmus-music/
https://www.gold.ac.uk/ug/bmus-popular-music/
the students and their work are, in order of appearance:
Christos Filppidis
untitled
For this composition I have composed a soundscape composition based on
the concept of reinventing the soundscape of my country of origin,
Cyprus, in the country that I currently live in, the UK. It is based on
sounds that are nostalgic to my memory. London provides easy adjustment
for people because of its incredible multiculturalism, thus it is
understandable for anyone to feel like home. But the sonic environment
of London can sometimes be one of the reasons why people feel nostalgic.
“The soundscape of a country is its signature, and accordingly, every
place has its own resonant signature” (Christidis and Quinton, 2016).
This was one of my main obstacles in attempting to picture a country
through the soundscape of another.
Sergio Ronchetti - Carrete
Untitled
Like Pierre Schaeffer´s "etude aux chemins de fer", this composition
explores the sound of trains. For me this brings with it ideas of travel
but also of actual past experiences. So some sounds have been
manipulated beyond what is purely realistic. In recording sounds of
journeys in London, the city becomes an instrument, and the piece
becomes also a sound track to those journeys.
Kirsty Black
Loch Lomond
At the foot of the Scottish Highlands and the north western edge of the
countries Central Belt lies Loch Lomond. This composition focuses on the
Loch’s physical internal and external environment and anthropomorphised
emotional states. The composition includes field recordings which I have
collected and collated, alongside a spoken word piece that somehow
characterises the Loch. It also is engaged with how we treat our
environment.
Jemil Payet
untitled
The idea for this composition was to sonically follow an object from
first use to disposal. I thought that it would be interesting to follow
this as I interact with it, while recording ‘ the experience of moving
through a space’ (Westerkamp in Lane and Carlyle, 2016). After some
consideration I settled on a piece of tinfoil, used in cooking until is
discarded in the bin.
Miles Simpson
Railton Road
My piece is a soundscape that sonically explores the juxtaposition
between the 1981 Brixton riots and modern day Brixton. Within this, I
have focused particularly on Railton Road in central Brixton. My initial
aim was to sonically document the social and environmental shifts that
have taken place since the riots chronologically, starting from just
before the riots started. Embedded in this is a soundwalk from the start
of Railton Road to the very bottom where it meets with Atlantic Road.
Lilian Nuthall
A South East Love Story
This composition presents a soundscape of South East London, shaped by
what I deem to be the essential part, the communities of people.
Cultural diversity, and authenticity, for me, is what makes London so
special. In an age of gentrification and extreme commercialisation of
our high streets and communities, I felt I wanted to celebrate the
neighbourhoods and groups fighting against this and maintaining
traditional practices. For me this was through the exploration of family
businesses, local independent shops, and market stalls. Peckham is a
fantastic example of this and hence where I did a lot of my sound recording.
Dominic Lee
A Tale of Two Cites
This composition aims to show different aspects of my hometown,
Rochester, on one of the busiest periods of the year, when the city
holds its annual ‘Christmas Dickens Festival’. As well as documenting
the soundscape of the festival this piece also explores the idea of
sound memory with my relationship with my hometown being questioned
throughout the recording process as I now experience the festivities as
an adult. This piece was entitled ‘A Tale of Two Cities’ as I feel it
perfectly illustrates how the soundscape of Rochester has changed for
me, and generally, overtime, as represented from the cathedral bell. It
also links to Charles Dickens’ connection with the city as a resident of
the city of Rochester, with ‘A Tale of Two Cities’ being one of his most
famous works.
Maddy Smyth
soundwalk through the subconscious mind
This takes on themes of sleep, the unconscious mind, reminiscence and
longing as a soundwalk through the subconscious mind. It explores the
concepts of sound romance and soundscape, using found sounds of specific
situations and places, such as a sleeping person and environments like
the beach or a church
Alice Western
Flaneur
With this composition I set out to create a piece of phonographic art
that explored and embodied certain aspects of the Mark Auge concept of
‘non-place’, and the term flaneur coined by Charles Baudelaire. I wanted
to examine the theories and apply them to a post- postmodern society and
millennial way of life, and explore my opinions and findings through
sound art. I wanted to create soundscapes that encapsulated and
questioned the characteristics of non-space and flaneur. Urban places
that allow us to mentally drift and ‘flaneur’ are becoming increasingly
rare in the hyper-capitalised cities of our globalised world. I find
such places comforting, and will often visit one when I need some mental
space or I just simply wish to exist without purpose for a few hours.
Elliot Greenfield
South Circular
When working on this composition “South Circular” I set out with a very
clear aim to explore the environment in which I live in and the busy
road connecting London. I looked at the relationship between the
communities which live on this busy section of road in Catford, how it
impacts their life living within this busy thoroughfare
Audrey McIlwain
The Winter Wonderland
In “Acoustic Territories: Sound culture and everyday life”, Brandon
Labelle writes that “the sidewalk is a volatile stage where the
individual body takes a step, then another, to ultimately negotiate the
movements of others as they shuttle pass” (Labelle, 2010: 87) and this
description of the sound of sidewalks is very much captured and embodied
in my composition as it explores the Christmas shopping period on Oxford
Street, London. You can hear the machine elements, the traffic, the
cars, the buses screeching along, and you can also hear the natural
sound which is the sound of the human beings talking and passing
through, and maybe subtle hints of the winter breeze; the clacking of
high heels and pushing of buggies as well as ever present x-mas
playlists are the sounding of manmade elements in the audible synthesis.
Edgar Ndazi
Walking to Freedom
This composition is based on the idea freedom to express myself
musically in an academic setting, and the career freedom that I hope
obtaining a music degree will provide. It is based upon a journey,
beginning in my flat, walking along New Cross Road, before heading into
Goldsmiths, finally ending up in the music department.
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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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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