[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
phonography ::: field recording ::: the art of sound-hunting
open your ears and listen!
for general info, playlists, broadcasts, podcasts, or to stream at any
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
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
:: info at frameworkradio.net
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:: 65605 võru
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