[microsound-announce] [framework radio] #605: 2017.07.02

. m u r m e r . murmer at murmerings.com
Tue Jul 4 06:08:15 EDT 2017


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

for general info, playlists, broadcasts, podcasts, or to stream at any 
time: http://www.frameworkradio.net


#605: 2017.07.02
listen to this edition here: 

this edition of framework:afield, a 1 hour version of their piece 
entitled ‘aurosion’, has been produced in the uk by amanda wilson and 
justin gagen.

notes from the producers:


Aurosion: Eroding Sonic Landscapes with the Internet Audio Cyclotron by 
Amanda Wilson and Justin Gagen

'Aurosion: Eroding Sonic Landscapes with the Internet Audio Cyclotron' 
was originally a collaborative, long-form studio performance by the 
authors, broadcast on June 6th 2016 by the radio station ResonanceExtra. 
The piece, whose seed material consisted of field recordings from 
locales as diverse as the laboratory and a tropical mangrove forest, ran 
for six hours: this version represents an edit consisting of around an 
hour of the original performance. Aurosion utilised a process conceived 
and designed by the authors to subvert the functionality of networks and 
compression algorithms – The Internet Audio Cyclotron, or IAC.

The IAC, is an audio hyper-processor, an information-destruction system, 
and a de novo musical instrument, that considers the ideas of Gustav 
Metzger, Jacques Attali and Alvin Lucier, among others, pertaining to 
memory and repetition, auto-destructive art, and non-linear, generative 
creation. Seed audio is introduced into the system and encoded using a 
compression algorithm. The encoded signal is then transmitted, via the 
Internet, to a remote distribution server and streamed to listeners. An 
instance of this stream is reintroduced into the encoder. Interaction 
with the signal, via mixer interventions and the introduction of further 
seed audio, forms the performative element of the instrument. Each cycle 
alters the seed sound and introduces a matrix of delays, compounded and 
layered with each subsequent round.

Aurosion was divided into ten sections, each with collections of samples 
from specific locales. Each section was gradually seeded, then ‘played’ 
until artefacts emerged to shape the piece, before decaying naturally. 
Many noise artefacts were introduced during the performance, both 
algorithmic and artist-generated, resulting in an unrepeatable 
microstructure with elements distinct from the seed sounds. The IAC, 
therefore, presents the artist with a method for the destruction of 
audio but, simultaneously, a method of creation.

More info at:


Attali, J. (1977) 'Noise: the political economy of music'. Minneapolis, 
MN: The University of Minnesota Press.

Lucier, A. (1969) 'I Am Sitting in a Room'. 

Metzger, G. (1996) 'Damaged nature, and autodestructive art'. London: 


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!


SUPPORT FRAMEWORK! your contributions make framework possible. please 
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without you, and we greatly appreciate your support.


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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