[microsound-announce] [playlist] framework radio #376: 2012.05.20
. m u r m e r .
murmer at murmerings.com
Mon May 21 05:18:30 EDT 2012
framework radio
phonography ::: field recording ::: the art of sound-hunting
open your ears and listen!
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#376: 2012.05.20
here it is, folks: our first shiny new we-have-entered-the-21st-century
(albeit a little late) playlist mailing! we think we've got it all
working now - automatic subscriptions forms are online at our website
(at the bottom of the sidebar on each page) and on our facebook page
(the 'email signup' button just below our profile picture). we imported
our previous mailing list (as always, we only have addresses on our list
that have explicitly opted in), but it's always possible we screwed it
up, so if you're getting this and you're not meant to be, just let us
know. likewise if you want it but you're not receiving it directly, just
sign yourself up. you can also change your preferences via the links at
the bottom, to receive a plaintext version, for example, or a mobile
version. let us know what you think! so now on to the show:
this edition of framework:afield has been produced in australia by
jay-dea lopez. for more information see his website at
http://soundslikenoise.wordpress.com. from jay-dea:
The Menace of Sound
"We often think of the sonic world in binary terms: beautiful verses
ugly (sound verses noise). While there is some validity in these
categories I would suggest that the two cannot exist in isolation from
each other. There is a point at where the two extremes must meet,
bleeding into an ambiguous domain that haunts the listener with its
uncertainty. For me this domain is where the most interesting
experiences can be found for both the artist and the audience.
In this show the simple sounds of crickets, wind, wire, bridge cables,
commercial spaces, and seals are recontextualised into a world which
resonates with menace. It is to the artists' credit that they never
resort to cheap theatrics, instead choosing to build tension through
well-crafted layerings and juxtapositions of natural and industrial sounds."
again, we are always looking for material for the show, 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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(time / artist / track / label)
01:20-11:54 / Hildergard Westerkamp / Cricket Voice / empreintes
DIGITALes
11:54-21:26 / Craig Vear / Cravasse Blue / Mille Plateau
21:26-22:31 / Robert Noone and Michael Paul / Seal Sounds (fragment
- from the movie Encounters at the End of the World) / THINK Film
22:31-27:35 / Simon Wetham / Connections (fragment) / 3leaves
27:35-30:11 / The Wired Lab / Sputnik Wires (fragment) /
http://wiredlab.org
30:11-35:10 / Philip Reeder / Sail Song / http://www.philipreeder.com
35:10-36:45 / David Burraston / Bee Hive / http://www.noyzelab.com
36:45-50:27 / Michael Trommer / Greyfields / Audio Gourmet
50:27-54:16 / James Wyness / The Bridge (fragment) / Green Field
Recordings
54:16-56:20 / Robert Noone and Michael Paul / Seal Sounds (fragment
- from the movie Encounters at the End of the World) / THINK Film
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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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