[microsound-announce] [framework radio] #587: 2017.02.26
. m u r m e r .
murmer at murmerings.com
Mon Feb 27 06:39:34 EST 2017
phonography ::: field recording ::: the art of sound-hunting
open your ears and listen!
for general info, playlists, broadcasts, podcasts, or to stream the
latest edition at any time: http://www.frameworkradio.net
listen to this edition here:
this edition of framework:afield has been produced in south korea by
ian-john hutchinson. for more information see
notes from the producer:
Field Recording in recent live performance in South Korea.
What is the nature of the contemporary sound object?
Given that the status of a field recording may be very dubious, and its
fate may be oblivion, what are the strategies that artists have
developed to present their field recordings and to generate audience
engagement in listening to sonic representations. What tricks are
artists pulling in attempting to get people to ‘open their ears and listen?’
Some overlap, some reinforcement among these questions will be sought in
the context of the recent use of phonography for live performance in
the South Korean speculative music scene.
There are four artists whose live performance documents can be heard in
this short program.
The first is Korean artist Lee Daeil. In 2012 and 2013 Lee Daeil
facilitated some opportunities for blind people, adults and children, to
explore sound focused activities.
[full artist interviews are transcribed in the playlist on the framework
Rémi talks about being compositionally led by the headphone heard sound
as he moved through the confined space of a boat. Hanjoon’s
improvisation takes its cues from the sense of timing and sonic textures
of the ocean. Daeil employs the recording to give dynamic indications
to the performers. Second Hand Sound Shop recognizes the basic
un-organized, complex and hyper-layered nature of the sound world
Each piece is a network of layers. There is the layer of the recording
itself…the perspectives from which the recording is made. The recording
refers to something which appeared and was heard, a spatial and temporal
ephemerality. There are contingent factors which led to its making;
there is the enigma of our relationship to its content.
And there is the layer of how the recording is then deployed so that it
can become audible as a recording, it’s ‘second hearing’. During the
performance the field recording is then given as something to be
listened to, the representation enters another context.
This recording itself gestures towards its own borders, towards what
lays before the fade in, what was to be heard beyond earshot, and the
space after the fade out (which is the space we now occupy).
The aspect of radical ephemerality that characterizes environmental
found sounds appears again as an aspect of the performance. Through the
performance field recording is exploited for the making of another
temporal, ephemeral sound object.
Seoul / Chuncheon, South Korea 2016
all interviews and performance recordings made by ian-john
except 1. Lee Daeil ‘Markets’ 2013 ; 2. Lee Hanjoon ‘Gosung beach field
recording’ 2016; 3. Rémi Klemensiewicz ‘Daemado Ferry field recording’ 2016
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
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