[microsound-announce] [framework radio] #792: 2022.03.13

. m u r m e r . murmer at murmerings.com
Mon Mar 14 07:32:01 EDT 2022


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

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#792: 2022.03.13
listen to this edition here:

patreon campaign progress report:
111 patrons (no change)
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want to help? http://www.patreon.com/frameworkradio

this edition of framework:afield has been produced in the uk by kevin 
winser. for more of his work, see https://infectedsenses.bandcamp.com/. 
producer's notes:


"This is a collection of field recordings all gathered on the same day, 
Saturday, January the 9th, 2021 during a social lockdown in Exeter, UK, 
due to the Coronavirus pandemic. It was also my birthday, so there was 
both personal and wider social context.

"Made as part of the field recording module on my MA in sound Art, The 
recordings were made using the Zoom H2n, to WAV. I knew that I would be 
most interested in spatial capture rather than isolated, so the device 
setting was for a 2-channel surround (2.1) utilizing all five of the 
microphone capsules. I had hoped to use and experiment with other 
microphones, but access to Uni assets was prohibited for reasons of 
geography and Covid-19 restrictions. This lockdown also meant a change 
to my initial proposal of capturing sounds from a wider source in 'The 
Third Place', such as restaurants and pubs. Much of the day's recording 
was obviously to be within the relatively controlled environments of my 
house, with the microphone placed within the given 'scene' of the 
Bathroom, kitchen, or front room.

"The other external locations, in the local park, outside my house and 
the Cornershop, were less controlled sound environments than the 
interiors but as the nature of what I intended was to capture 'the 
everyday' as it happened and not to make an industry-standard, sound 
library as such, I was happy to place the microphone anywhere stable and 
just let life happen around it.

"Having engaged with 'The Sounds of the pandemic' an International 
online conference organised by the University of Florence in December 
2020, I knew I wanted to go to the city high street to capture what I 
thought would be the relative 'sound of silence' there, compared to a 
non-lockdown situation. I decided to walk the length of two streets with 
the mic handheld, although in retrospect, I now think I ought to have 
decided on a single location for it.

"It offers a chronology of recordings that I think, operates within and 
intersects various 'field recording' schools of thought, sub-genres, 
debates, and concerns. Soundscape, sound walks, A sense of place, 
'boring', everyday sounds and casual conversation, audio diary, informal 
storytelling, self-reflexive narrative, and (micro)social history and 
sound heritage.

"I was aware of the requirement to produce, technically acceptable 
recordings within the context of this module and within the traditional 
phonographic practice of the objective or 'Neutral' field recording and 
sound capture principles of acoustic ecology but also given my 
background in a radio broadcast, oral history, and Heritage projects and 
informed by certain fields of thought within my first degree of Cultural 
Studies, I wanted to include some element of storytelling and documentary.

"Drever considers field recording as originating not only from the work 
of pioneers of the 1960s such as the World Soundscape Project, Luc 
Ferrari, and Bernie Krause but also from much earlier precedents. 
Phonographers and sound archivists such as Ludwig Koch, Humphrey 
Jennings and the GPO Film Unit.

"Another influence I was aware of was from the sound walks of Hildegard 
Westerkamp, where she places herself within the sonic landscape with 
spoken and ‘self-reflective narrative’ to create an ‘autotopographic’ 
sound work about her relationship with the environment. Westerkamp’s 
narrative is overdubbed in the studio, and as is mine is contained 
within the recordings where speech events happen and also a la Westerkamp.

"The third influence was from the more recent, Sound Diaries project by 
The Sonic Arts Research Unit at Oxford Brookes University. The project 
explores what it means to record life in sound as Auditory archaeology 
and to acknowledge the 'boring' and mundane as potential sonic time 

“It's always exciting to hear someone documenting their daily lives in 
sound - and rarer than you might think given the technologies that we 
now have so readily available.”

-kevin winser, 2022.02


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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