[microsound-announce] [framework radio] #808: 2022.07.03

Mon Jul 4 13:19:57 EDT 2022

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

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#808: 2022.07.03
listen to this edition here:
https://frameworkradio.net/2022/07/808-2022-07-03/

patreon campaign progress report:
112 patrons (down from 114)
56% towards our goal (down from 58%)
want to help? http://www.patreon.com/frameworkradio

this edition of framework:afield has been produced in the united states 
by john f. barber. for more information see 
http://www.nouspace.net/john/. producer's notes:

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Dawn Birds, Light Traffic, Melodic Machines is a 58:00 sonic narrative 
collage composed of field recordings from different places—Dubai, 
Victoria, and Vancouver—at different times. This combination seeks to 
foreground, through either sonic simularity or serendipity, soundscapes 
that are representative of fluid time and place but solidly grounded in 
rich listening experiences.

There are many definitions for soundscapes. At the heart of each is the 
idea of "sounds that might be heard at a particular place." This gives 
the field recordist and/or sound artist large latitude. Including 
creating collages of sounds heard in different places at different times.

Collage is at the heart of this work, Dawn Birds, Light Traffic, Melodic 
Machines, which uses field recordings made in Dubai, Victoria, and 
Vancouver.

Why collage? Consider the landscape painter and the field recordist. A 
landscape painter cannot capture all the details and nuances of any 
particular place. She creates a representation. Chooses which different 
details to include. And which to set aside. She creates collages, 
renderings, from witness and imagination.

The field recordist may also follow this approach to collage. Sounds 
recorded at one location, at one time, may connect, through either sonic 
simularity or serendipity, with sounds recorded at another location, at 
a different time. The results are soundscapes representative of fluid 
time and place but solidly grounded in rich listening experiences.

Both the landscape painter and the field recordist produce compositions 
interpretating, describing, and documenting a place, in time. As noted, 
collage may be at the heart of any artifacts created in this process. 
But there is also the sense of realism conveyed by either the painting 
or the soundscape. This realism evolves from the process of making and 
considering what is captured by the painter's brush and/or the field 
recordist's microphone.

Shifting focus solely to the field recordist, and specifically my 
practice, composing a soundscape is often a process of selecting, 
editing, and juxtaposing elements of different recordings to create a 
sense of a place. To promote a believable experience of being in that 
space. This sense of structure and reality comes from active aural 
engagement for both myself and those who listen to my works.

To establish and maintain that engagement, this work, Dawn Birds, Light 
Traffic, Melodic Machines, seeks to promote a representative soundscape. 
A constructed scenario that connects realistic sounds in new and 
exploratory ways. That asks listeners to pay attention to aural details 
of different, often divergent, acoustic environments. And find in their 
overlap and interplay connecting sound textures.

Soundscapes then not only provide ways of understanding places through 
their sounds, but prompt listeners to explore new ways of understanding 
those places through listening. Specificly, soundscapes like Dawn Birds, 
Light Traffic, Melodic Machines offer two opportunities for listeners. 
First, such soundscapes foreground the aural world. They push one to 
listen to and contemplate the sounds that might be heard. Second, 
soundscapes can help listeners engage with unique features and 
affordances of the sonic environment. To cultivate ways of hearing places.

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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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