Alles auf
einen Blick

Programm

Sendungsblog

framework

Podcast (RSS)

Framework Radio existiert seit 2002 und wurde zum ersten mal beim renommierten englischen Sender Resonance FM In London gespielt.Die Sendung wird mittlerweile weltweit auf verschiedensten Radiostationen und Podcasts veröffentlicht und Beschäftigt sich mit dem Thema Fieldrecording im Kontext zur Komposition.

Wir kennen keine Grenzen. Weder auditiv noch geografisch legen wir uns fest und präsentieren unseren Hörern eine künstlerische Auseinandersetzung mit dem Thema der Außenaufnahmen (im weitesten Sinne) und Komposition. Also. Es geht um den gefundenen Sound. Den Klang, den man nicht selbst entwickelt, sondern dem man auf der Straße, in Hinterhöfen eben einfach draußen begegnet. Es wird hingehört, das außergewöhnliche extrahiert, dem nachgegangen, was uns in unserem täglichen Dasein oft „unhörbar“ bleibt.

Framework Radio geht der Frage nach, was Außenaufnahmen wirklich sind. Sind Sie ein Stil, ein Genre oder wird der Hörer nur mit einer unkontrollierbare Situation konfrontiert, in welche er sein Mikrofon hält um es elektroakustisch einzufangen?

Framework Radio beschäftigt sich mit der Kunst, Aufnahmen aus dem öffentlichen Raum in einen kompositorischen Kontext zu stellen und somit eine neue vielleicht unerhörte Form der Komposition zu erschaffen. Hier haben internationale Künstler die Möglichkeit sich und ihre Arbeiten zu präsentieren, sich auf ihre Art mit dem Framework Konzept auseinander zu setzten. Wir laden euch ein, eine Community kennen zu lernen, die abseits des Mainstream, neue Formen und Ansätze sucht, mit Klang und Komposition umzugehen.

Sendungsblog

#517

this edition of framework:afield has been curated by john levack drever and produced by the students of his phonography course at goldsmith’s college, university of london, uk.

this edition of framework:afield has been curated by john levack drever and produced by the students of his phonography course at goldsmith’s college, university of london, uk. some notes from the curator:
Short excerpts from a selection of this year’s Phonography students at Goldsmiths, University of London, a course that through the art of field recording explores the perceived interrelation between concepts of sound, noise, hearing, listening, environment, atmosphere, architecture, memory, space, event, site and nonsite, place and non-place. The course is run by John Levack Drever with assistance from Emmanuel Spinelli. Passages for the Ear has been compiled and mixed by Drever.

[Passages for the Ear]

0’00 Daniel Harvey Summer Solstice ­
An attempted study of the event and the attendees of the summer Solstice Free festival at Stonehenge, June 20th. By using binaural microphones to discretely record the interactions, and to enable the listener to experience the event more intimately, this study was to record the ebb and flow of the spontaneous and celebrated the ritualization of what a free festival stands for… I have attempted to show as much about the various groups that ubiquitously come together under a common ground and attempt to address the issues that arise when such a large group of people exist in such a small amount of space… The theme of contradiction and contrast is a main focal point of this study and one major point that dominates the whole atmosphere is what Will Self refers to as the ‘museumification’ and commercialization of the site by English Heritage itself.

3’28 Matthew Lawrenson West Coast Tours
A composition based around a series of field recordings I made on a trip to the west coast of America in the summer of 2014. As a tourist I experienced a series of snapshots of this vast country and was interested to see the composition that resulted from this brief immersion in American culture.

6’34 Jack Newton Saudade
This piece is comprised of layers that assimilate the present with memory and attempts to position the material in order to create a realistic interpretation of the present. The piece is mainly inspired by the feature film Lost in Translation as well as poetry that focus on experiences of nostalgia. The sound sources are recorded in several different locations that relate to each other and crossover as memories within the present.

10’05 Laura Clough The Loin Park
Does ecotourism really benefit the environment? What is mankind’s fascination with the exotic, and the tourism-tourist industry worker relationship? I think about these issues in relation to the popular tourist destination Lion Park, Gauteng South Africa, where I recorded the raw sounds for my piece.

14’30 Phoenix Martins Auditory Trainspotting
A nostalgic auditory view point of my early childhood memories of being on trains, wondering where the voice of “mind the closing doors” and “mind the gap” were coming from an hoping, I wouldn’t fall into the gap! Also encapsulating moments of tranquility, and merging the sounds of the trains with electronica to create textures and generate a feeling of other-worldly-ness. To achieve this, I collated field recordings from various train rides including, southern trains, underground and overground lines.

18’30 Jonathan Brennan A Reflection; Patient 1 & Patient 2
A hospital is a place that triggers vast depths of connotation. There are very few that live in today’s western societies who have not encountered such a place in one shape or form. It is a place of sorrow, fear, repair, shelter, understanding, confusion and more. And then even perhaps not a specific place at all, a “non-place”. “A Reflection; Patient 1 & Patient 2” 2 is an extended sound work that exposes the sonic textures of the modern hospital and explores the interactions between these establishments and their subjects.

23’36 Jonathan Coote
Can phonography go beyond representation and communicate political thought? Can it be used as agitprop? Field recordings include the TUC’s Britain needs a Pay Rise demonstration, 18th October 2014, national student demonstration Free Education, 19th November, and Karl Marx grave, Highgate Cemetery.

27’50 Calum Lynn
I have been exploring the subject of energy production, and how it intersects with the liminal, post industrial landscape, in this case, South East Northumberland. A main aim of my composition was to focus on the sound of electricity producing wind turbines; a regular sight across rural and semi-rural Britain. The visual impact of these structures is well noted, for both their uniform and arguably iconic appearance, and the controversy that arises when they’re placed in rural areas deemed to be naturally beautiful. However, the sonic aspect of wind turbines is often unacknowledged, in part due to their inaccessibility and exposed placement. I wanted to use the sound of these structures as a way of exploring present day energy production in an area that was until recently so reliant on the heavy industry of mining and traditional coal fired power stations… I wanted to explore these accidental sonic implications of renewable energy, as well as how they fit into the existing histories, geography and sense of place within the region, also exploring the links between industrial, rural and urban, which have become increasingly fluid in post-industrial society; outlined in this region by the adaptation of former quarries, collieries and power station sites into nature reserves, blurring the boundaries of what constitutes ‘real’ countryside.

34’30 Joseph Smith
All the sounds revolve round a central idea of cold and hot. The thought that Iceland seemed to be rife with the two extremes hit me as I was watching the Northern Lights shimmer through the haze of sulphurous smog from the tub of 40°c geothermal waters in which I sat, while my face and hands were slowly frozen solid by the -15°c wind chill… The intentions of my project were to explore the sounds of a remote place, be they alien or familiar and try to discover a musicality that runs through them all in the creation of a hyper-real soundscape.

36’30 Tom Moore
I set out with the intention of creating a piece based on quite raw, unedited natural sound – local wildlife, weather, effects of the seasons, the river itself at various points. Through reflection on the process of actual field recording I reconsidered my original approach. I settled on creating a piece more reminiscent of a soundwalk, or rather a ‘sound-journey’. I found myself concentrating on capturing sounds purely for their aesthetics, even interacting with environments to enhance these sounds. I recorded footsteps in different places, threw logs into the river to create splashes, and opened different metal gates as I walked. The field recordings were made in rural mid-Norfolk in December 2014.

41’00 Emily Ady A Daughter’s Response – I used this project as a way of exploring two completely different worlds and soundscapes by comparing and contrasting the physical sound worlds, narrator’s familiarity and reaction to surroundings and the context in which we as narrator and audience stand in these worlds. I also wish to explore both sets of surroundings by looking at movement, the exploration of the space and recording techniques. I also explore the themes of familiarity and alien, mother and child relationships, personal narration, noise, “favourite sounds”, archive and how the overall structure and techniques relate to these themes.

42’30 Samuel Hatchwell
The perceived concepts of space and varying types of space play a serious role in its relationship with social anxiety. Different theories on space such as topophonobia and ochlophobia, with specific relevance to claustrophobia, agoraphobia and enochlophobia talk about an association with fear and anxiety within certain soundscapes due to multiple different factors. For example, a space with a higher level of noise pollution may incite fear for a topophonophobic if that person is prone to claustrophobia or social anxiety. This inherent fear associated with certain spaces and their sounds is what drove the intention for the composition.

The composition explores these relationships and how different social atmospheres affect subjects prone to social anxiety. As well as this link, the composition also looks at the connection between theorized sound concepts and the effect they have on the subject within the inhabited space. The piece acts as both a commentary on these relationships and as a social experiment on how anxiety functions under consistent conditions in varying spaces.

48’30 Rodrigo Barbosa Camacho Sublimation
“Last call, towards being the space”
 – At some point all mothers must have called for a son or a daughter so they shall come for dinner. Everyone knows what’s that, however we all do it differently. There is a lot in it to do with style! … And not that much with circumstances.

The space is all a stage and there are no stages in this place. Everyone has something to do, and there they go, meeting their affairs. We talk, we eat, we play, we fuck, we eat some more, we complain about the bad things, we send kisses here, we send kissed there, we clap and watch some cruise-ships through some palm trees. All children grow and become parents; then parents grow and become plants. In the end of the day, all is gasoline so one may go to work, but there are plants called corn, that if decently ground and cooked, with broad beans and nice dark green cabbage, could not be better than goodness!

Craving now for a juicy tuna stake.

#506

after weeks of folding/burning/stamping madness, things have quieted down at framework HQ.

after weeks of folding/burning/stamping madness, things have quieted down at framework HQ. all the initial orders and artist copies of framework500 are winging their way around the world, to arrive soon in the hands of adoring fans, and we are at the ready with further copies and envelopes to fill all subsequent orders posthaste. that said, i can confirm that i have only TWO early adopter thank you packs left, so if you would like your copy of framework500 to be accompanied by extra badges, stickers, drawings, rust, and notes then order your copy NOW! if you’re concerned, drop me a quick email, and i will confirm that one of them is yours.
use the paypal buttons to the right to donate 40€ or more to get yours!
(come on people, do it. we need you.)

this edition of framework:afield has been produced in the philippines by dayang yraola. for more information see dayang’s website at http://www.dayangyraola.com. producer’s notes:

Project Bakawan is an arts festival held at the University of the Philippines-Diliman. It is a festival that took inspiration from sustaining and sustainability of the mangroves, which is a crucial component of the ecological balance in the Philippines.

Listening Terminals is the offering of Project Bakawan’s Sound and Movement Component.

Listening terminals is an archiving project, which recorded sounds from different parts of Metro Manila. Materials were gathered through crowd sourcing from social media.

Listening terminals is also a composition project, wherein musicians were invited to compose works using the gathered sounds. Later movement artists were invited to compose performance using the composed music. In the 1 month exhibition, visual artists are also being invited to react and interact with the listening terminals that are installed on the Academic Oval of the University.

Like most field recording projects, listening terminals is an attempt to isolate the different sonic layers of a very crowded city , to direct more attention towards them for purposes of awareness, and hopefully as source of creative inspiration.

[artist (country)]

Erwin Fajardo (Philippines)
Maria Christine Muyco (Philippines)
Juro Kim Feliz (Canada/Philippines)
Michael Graeve (Australia)
Motohide Taguchi (Japan)
Thomas Reifner (Germany)
Kamal Sabran (Malaysia)
Charlies Fournier (Philippines)

#501

we continue our framework500 celebrations with the 2nd disc of the upcoming framework500 release, whose works we mixed with one another and with another selection of sounds from the aporee soundmaps.

we continue our framework500 celebrations with the 2nd disc of the upcoming framework500 release, whose works we mixed with one another and with another selection of sounds from the aporee soundmaps. we began this show with a framework introduction recorded for us by regular contributor, and contributor to framework500, felicity ford, who captured the moments during which she constructed the framework500 badges that will go into the early adopters pack, which each of the first 50 people to pre-order the release will receive. it includes felicity’s badges, stickers, drawing, postcards, and plenty more goodies – pre-order yours now and nab one for yourself!
the framework500 release page is now online, so you can read artist and track notes, look at pretty pictures, and hear more about the process of creating this glorious object. and then, when you just can’t resist any longer, you can click the shiny yellow DONATE button on the right, enter a sum equivalent to 40€ or more, and get your name on the pre-orders list, with all the other true-blue framework lovers.

http://www.frameworkradio.net/framework500

this wednesday we go to räpina to witness and document to production of the paper that our sleeve will be constructed from, the recording of which will be included on the release – keep an eye on our facebook page for images and sounds from that adventure!

[time / artist / track / album / label]

00:00 – 08:14 / felicity fold / framework introduction, recorded in the the uk
http://www.knitsonik.com

02:43 – 17:02 / kodama / cauldron / framework500 / framework editions
http://www.omnimemento.com/kodama, http://www.frameworkradio.net/framework500

12:29 – 19:26 / ben owen / stairwell bergen st / framework500 / framework editions
http://www.benowen.org, http://www.frameworkradio.net/framework500

17:42 – 21:12 / asmus tietchens / deb 1b / framework500 / framework editions
http://www.tietchens.de, http://www.frameworkradio.net/framework500

20:30 – 25:44 / flavien gillié / moineaux sur le balcon / sal rei, cape verde / aporee soundmaps
http://www.soundisall.net, http://aporee.org/maps/?loc=27218

22:43 – 29:09 / keith de mendonca / echo / framework500 / framework editions
http://soundcloud.com/keith-de-mendonca, http://www.frameworkradio.net/framework500

26:56 – 34:02 / eric cordier / les gardiens de la forêt / framework500 / framework editions
http://www.prelerecords.net, http://www.frameworkradio.net/framework500

30:09 – 39:27 / maksims šenteļevs / river styx / framework500 / framework editions
http://www.bernurits.com, http://www.frameworkradio.net/framework500

38:05 – 41:50 / chloé despax / animal market / guamote, equador / aporee soundmaps
http://aporee.org/maps/?loc=27192

40:25 – 46:30 / dallas simpson / tunnel improvisation (edited mix extract) / framework500 / framework editions
http://www.dallassimpson.com, http://www.frameworkradio.net/framework500

43:41 – 47:54 / martin clarke / varanasi / framework500 / framework editions
http://www.rockscottage.net, http://www.frameworkradio.net/framework500

47:00 – 51:00 / miloš vojtěchovský / carneval, masopust / czech republic
http://aporee.org/maps/?loc=27214

50:12 – 54:36 / toy.bizarre / ingeos / kdi dctb 295 [a] / framework500 / framework editions
http://www.ingeos.org, http://www.frameworkradio.net/framework500

52:39 – 57:00 / jonathan coleclough / köln fork / framework500 / framework editions
http://www.october-editions.co.uk, http://www.frameworkradio.net/framework500

Framework #499

This edition of framework:afield, entitled ‘train’, has been produced in germany by regular contributor d. l. lutz. notes from the producer:

This edition of framework:afield, entitled ‘train’, has been produced in germany by regular contributor d. l. lutz. notes from the producer:
This earscape mainly features field recordings from a long-distance train in Germany going from Hamburg Main Station to Berlin Main Station, passing small towns, forests and river Elbe, meeting and overtaking other trains, allowing to hear horses and birds in the meadows, moving very slow and very fast… This ride is compiled for everyone who suffers from wanderlust and likes wind and track noises and bad conductor’s announcements because it reminds him / her of the pleasant, unburdened state of travelling. But without the visual information that the carriage window provides, the typical train sounds of metal, speed and echoes of the surroundings develop an unfamiliar, and often mysterious, life of its own.

By superimposing fragments of the fascinating two-hour post-modern composition “Music For Checking Emails” by Wolfgang Mitterer from Austria, the atmospheric, suspended, reminiscential aspect is increased. Mitterers topic is a different one, but his work is also dealing with the fragmented surface of this modern world – which happens to be an acoustical fit that works surprisingly well. Listen loud and have a good journey!

D. L. Lutz, born 1969 in Germany, is a practising architect, writer and sound artist living in Berlin.

[sound sources]

D. L. Lutz: IRE_B-HH_HH-B_140518; self-published
Biosphere: Translation; from: Autour De La Lune, Touch Records, 2004
Biosphere: Microtunneling; Lyd/By sound installation in Aarhus / Denmark, 25 Aug 2001; download from www.biosphere.no (link deleted)
The Vancouver Soundscape (World Soundscape Project): Music Of Horns & Whistles; from: David Toop, Ocean Of Sound, virgin AMBT10, 1996
Wolfgang Mitterer: Music For Emails… Giving The Illusion Of Depth; fragments of the following parts: Background 01, 13, 04, 15, 11, 14, 03, 10, Bad Receiver & Hello Mr Bruckner; col legno WWE 2cd 20289, 2009

#498

Kodama (Hitoshi Kojo and Micheal Northam), Eric La Casa with Jean-Luc Guionnet, Jehanne Thibault, Yair Lopez, sounds from the Aporee Soundmaps by Carlo Patrao, Flavien Gilliē, OR Poeisis, and Henrik S

Kodama (Hitoshi Kojo and Micheal Northam), Eric La Casa with Jean-Luc Guionnet, Jehanne Thibault, Yair Lopez, sounds from the Aporee Soundmaps by Carlo Patrao, Flavien Gilliē, OR Poeisis, and Henrik Schroeder, and a framework introduction recorded in India by Martin Clarke.

well folks, we’re getting very close. out next regular edition is show #500! and we have some celebrations planned for the rest of the year. first, of course, the show itself, which will be the first of a run featuring new and unheard works contributed by a group of the artists who have helped to make framework what it is. these works will then be released on the latest project by framework editions, framework500, harking back to the 4-disc release we made to celebrate our 250th show in 2009, framework250. for framework500 we have invited artists from framework250 back (the first time we have repeated artists in our release history) to contribute again to a new celebratory release. this time we have three discs, again in special origami packaging, with works by jeph jerman, asmus tietchens, peter cusack, dallas simpson, phill niblock, felicity ford, eamon sprod, richard garet, jonathan colecough, loren chasse, and 18 more! this release will again be available only through framework radio, in exchange for your generous donations. stay tuned for images and track details very soon!
meanwhile some great sounds in this show. long extracts from a the immense 4-cd project by éric la casa and jean-luc guionnet entitled home : handover, which involved interpreting and reinterpreting domestic spaces through documentation, discussion and, performance. also, another beautiful handmade release from the omnimemento label, a recent work by michael northam and hitoshi kojo’s kodama project (kodama and jean-luc guionnet also feature on framework500). first appearances on the program by french artist jehanne thibault and mexican artist yair lópez, whose cd release we featured is also available for free download from his bandcamp page (link below). and another selection of recent favorites from the aporee soundmaps, as chosen by aporee users.

[time / artist / track / album / label]

00:00 – 03:28 / martin clarke / framework introduction, recorded in india
http://www.rockscottage.net

02:18 – 14:26 / or poeisis / nocturnal, rain / kyoto, japan / aporee soundmaps
http://aporee.org/maps/?loc=25868

06:06 – 16:45 / kodama / archaea / phxa / omnimemento
http://www.omnimemento.com/kodama, http://www.omnimemento.com

12:09 – 22:10 / éric la casa & jean-luc guionnet / ii.4 – synthesis / home : handover / potlach
http://ericlacasa.info, http://www.jeanlucguionnet.eu, http://www.potlatch.fr

18:28 – 27:13 / carlo patrão / santa cruz sports field / são nova, portugal / aporee soundmaps
https://zeppelinruc.wordpress.com, http://aporee.org/maps/?loc=27030

21:07 – 30:56 / yair lópez / [title track] / paisaje sonoro del malecón de puerto vallarta / [self-release]
http://www.yairlopez.info, http://yairlopez.bandcamp.com

24:57 – 36:53 / jehanne thibault / le réveil / eskifjörður / kaon
http://thibaultjehanne.fr, http://www.kaon.org

33:17 – 45:28 / kodama / photon / phxa / omnimemento
http://www.omnimemento.com/kodama, http://www.omnimemento.com

36:39 – 41:52 / henrik schroeder / town hall, citizen center / berlin, germany / aporee soundmaps
http://aporee.org/maps/?loc=26992

40:55 – 51:39 / éric la casa & jean-luc guionnet / iii.4 – synthesis / home : handover / potlach
http://ericlacasa.info, http://www.jeanlucguionnet.eu, http://www.potlatch.fr

42:01 – 54:13 / jehanne thibault / le naufrage / eskifjörður / kaon
http://thibaultjehanne.fr, http://www.kaon.org

46:42 – 54:56 / yair lópez / cooperativa de pescadores / paisaje sonoro del malecón de puerto vallarta / [self-release]
http://www.yairlopez.info, http://yairlopez.bandcamp.com

53:10 – 57:00 / flavien gillié / under the bridge / anderlecht, belgium / aporee soundmaps /
http://www.soundisall.net, http://aporee.org/maps/?loc=27080

#497

listen to this edition here: http://www.frameworkradio.net/2015/02/497-2015-02-01/

this edition has been produced in the phillipines by dayang yraolo, and consists of two parts: 'listening to my music', and 'ikotoki'. for more information see dayang's website at http://www.dayangyraola.com. producer's notes:

Listen to My Music

Philippine composer and ethnomusicologist, Jose Maceda said “If you wish to honor me, listen to my music…”

This is the inspiration for the Listen Project, which was staged as an exhibit at the University of the Philippines Jorge Vargas Museum and Filipiniana Research Center in July 2013.

In this exhibit is a gallery titled ‘Confluence’. This gallery contained works of composers that used indigenous field research recordings and new music compositions of Jose Maceda found in the Center for Ethnomusicology of the same University.

This is the first attempt by the Center for Ethnomusicology to engage non-University-based contemporary artists to use the Maceda Collection in their holdings. Composers are musicians who are known in popular music scene in Manila.

Ikotoki Para

Ikot literally means to go around. It is also the name of jeepney service that goes around the Campus. Toki is a colloquial term that means to counter flow. It is also the name given to the jeepney service that counter flows the Ikot route. Para is what you say when you want the jeepney to stop.

Ikotoki Para is a project that collected, collated and composed sounds from the Campus of the University of the Philippines for over three months.

The University of the Philippines Diliman Campus is a university town. It is 400 hectares of contained environment with patches of age-old trees. During the production for Ikotoki Para students were asked to record different sound producers on campus. It included the flora, fauna, machinery, vehicles, electronic devices, people and other possible sound sources.
This exercise encouraged participants, the sound gatherers, to pay attention to their sound environment, at least during the data gathering. Composers where then encouraged to compose using the collected materials as either elements or inspiration for their composition.

This project is inspired by composition of Prof. Maria Christine Muyco’s ‘Jeepney Orchestra’ and the project of the U.P. Department of Biology that gather sound of fauna living on Campus.

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!

–––––––––––––––––––––––––––––––––––––––––––––

[playlist]

(Listen to My Music - all works are excerpts)
- Armi Millare
- Caliph8
- Erick Calilan
- Jing Garcia
- Cris Garcimo
- Malek Lopez
- Paolo Garcia

Ikotoki Para (all composers are students of U.P. College of Music)
- Feliz Macahis
- Jairus Saldejeno
- Jordan Peralta
- Karl San Jose
- Minich Cruz

#495

this edition of framework:afield has been produced in scotland by regular contributor mark vernon. note from the producer:
Things That Were Missed in the Clamour for Calm
Produced by Mark Vernon

this edition of framework:afield has been produced in scotland by regular contributor mark vernon. note from the producer:
Things That Were Missed in the Clamour for Calm
Produced by Mark Vernon

A version of this latest work by Mark Vernon is due for imminent release on Ákos Garai’s 3Leaves label. ‘Things That Were Missed in the Clamour for Calm’ is a soundscape composed from field recordings made in Sri Lanka between October and December 2013. The work was produced during a 6-week residency at Sura Medura, Hikkaduwa on the South West coast of the country. Other recording locations included; Galle, Ambalangoda, Matara, Debera, Yala, Bundala, Udawattakale, Kandy, Sigiriya, Sinharaja, Mirissa, Unawatuna, Welligama and Colombo.

The residency was supported by UZ Arts and Creative Scotland.

“There is an odd looking machine in the New Hindu Kovil on Sea Street in Colombo kept within a rusty cage to protect it from rats. When the machine is switched on a motor kicks metal clappers and drumsticks into operation. In perfect rhythm, the clappers ring on the bells and cymbals, and the drumsticks mark out a background tattoo on the drum. Its purpose is to banish unwanted and intrusive “bad” exterior sounds; the tuk tuk horns, the quarrelling street traders, the general commotion of the material world. The repetitive mechanical mantra of drum, bell and cymbal effectively drowns out all other sounds, using one form of noise to counteract the other. Thus is created a meditative space, a place for contemplation and prayer amidst the hubbub of quotidian reality”.

http://www.meagreresource.com
http://soundcloud.com/markvernon/sets/sri-lanka-sound-diary
http://www.3leaves-label.com/releases.html

Framework #494

welcome to the beginning of framework’s 2015 programming!

welcome to the beginning of framework’s 2015 programming! we’re back after a much-appreciated winter break, some time to shovel snow and heat the fires, and to begin preparations for our upcoming framework500 project, celebrating our upcoming 500th edition! stay tuned for more information about that in the coming weeks.
meanwhile, just before our break we released the 7th issue of our framework:seasonal series, winter 2014, featuring great works by a great collection of artists – if you haven’t picked up your copy already, do so now by visiting the framework website and donating 20€ or more via the donations bar on the right.

and a new year means a new batch of framework introduction is needed! i’ve only got one or two waiting in the wings, and i need new intros every month, so grad a recorder and get out their and record your framework intros! click here or intros in the menu above for guidelines.

some great sounds to start off our year – acoustic experiments with sine frequencies inside an abandoned cistern by bryan eubanks, wonderful metallic resonances by martin kay, rattles and sighs of ventilation by jonáš gruska, and concrete composition by natasha barratt, all preceded by a framework intro recorded for us in australia by regular contributor (and contributor to the latest framework:seasonal issue) jeremy hegge.

[time / artist / track / album / label]

00:00 – 07:23 / jeremy hegge / framework introduction, recorded in australia
http://soundcloud.com/jeremyhegge

03:00 – 09:08 / martin kay / abandoned oil tank – yeravan / all things metal / 3leaves
http://mountainblack.net, http://3leaves-label.com

07:39 – 12:09 / natasha barratt / kernel expansion part I / peat + polymer / 3dB
http://www.natashabarrett.org, http://plus3db.net

10:10 – 20:12 / bryan eubanks / pulses / from the cistern / gruenrekorder
http://www.sacredrealism.org/bryaneubanks, http://www.gruenrekorder.de

16:02 – 20:37 / jonáš gruska / liquid pressure control – valve dances – scared piece of metal / vzduchotechnika / LOM
http://jonasgru.sk, https://zvukolom.org

18:05 – 23:25 / natasha barratt / kernel expansion part II / peat + polymer / 3dB
http://www.natashabarrett.org, http://plus3db.net

22:58 – 27:30 / martin kay / rain on iron gutter – futuko tamagawa / all things metal / 3leaves
http://mountainblack.net, http://3leaves-label.com

24:28 – 37:15 / bryan eubanks / sine series / from the cistern / gruenrekorder
http://www.sacredrealism.org/bryaneubanks, http://www.gruenrekorder.de

29:25 – 35:36 / natasha barratt / Lima Mosaic / peat + polymer / 3dB
http://www.natashabarrett.org, http://plus3db.net

33:05 – 39:58 / jonáš gruska / air is flowing – valve dances II – valve dances III / vzduchotechnika / LOM
http://jonasgru.sk, https://zvukolom.org

37:56 – 45:10 / martin kay / stadium support pillar – docklands, melbourne / all things metal / 3leaves
http://mountainblack.net, http://3leaves-label.com

44:20 – 52:04 / natasha barratt / untitled two / peat + polymer / 3dB
http://www.natashabarrett.org, http://plus3db.net

48:24 – 55:47 / bryan eubanks / five tuned tubes / from the cistern / gruenrekorder
http://www.sacredrealism.org/bryaneubanks, http://www.gruenrekorder.de

50:55 – 55:02 / jonáš gruska / relief valve – defined ventilation space – breathing inlet nozzle / vzduchotechnika / LOM
http://jonasgru.sk, https://zvukolom.org

54:28 – 57:00 / martin kay / wurundjeri way overpass – melbourne / all things metal / 3leaves
http://mountainblack.net, http://3leaves-label.com

Framework Radio bei Radio freeFM

Framework Radio Existiert seit 2002 und wurde zum ersten mal beim renommierten englischen Sender Resonance FM In London gespielt.
Die Sendung wird mittlerweile weltweit auf verschiedensten Radiostationen und Podcasts veröffentlicht und Beschäftigt sich mit dem Thema Fieldrecording im Kontext zur Komposition.

Wir kennen keine Grenzen. Weder Auditiv noch Geografisch legen Wir uns fest und präsentieren unseren Hörern eine künstlerische Auseinandersetzung mit dem Thema der Außenaufnahmen (Im weitesten Sinne ) und Komposition. Also. Es geht um den gefundenen Sound. Den Klang, den man nicht selbst entwickelt sondern dem man auf der Straße, in Hinterhöfen eben einfach draußen begegnet. Es wird hingehört, das außergewöhnliche extrahiert, dem nachgegangen, was uns in in unserem täglichen dasein oft „unhörbar“ bleibt.

Framework Radio geht der Frage nach, was Außenaufnahmen wirklich sind.
Sind Sie ein Stil, ein Genre oder wird der Hörer nur mit einer unkontrollierbare Situation konfrontiert, in welche er sein Mikrofon hält um es Elektroakustisch einzufangen?

Framework Radio beschäftigt sich mit der Kunst, Aufnahmen aus dem öffentlichen Raum in einen kompositorischen Kontext zu stellen und somit eine neue vielleicht unerhörte Form der Komposition zu erschaffen. Hier haben internationale Künstler die Möglichkeit sich und ihre Arbeiten zu präsentieren, sich auf ihre Art mit dem Framework Konzept auseinander zu setzten. Wir laden euch ein, eine Community kennen zu lernen, die abseits des Mainstream, neue Formen und Ansätze sucht, mit Klang und Komposition umzugehen.

Framework Radio sendet jeden Donnerstag zwischen 23-24 Uhr.
Weiterführende Informationen und den Podcast findet ihr unter frameworkradio.net

Spitzt eure Ohren und lauscht.

framework

Framework Radio existiert seit 2002 und wurde zum ersten mal beim renommierten englischen Sender Resonance FM In London gespielt.Die Sendung wird mittlerweile weltweit auf verschiedensten Radiostationen und Podcasts veröffentlicht und Beschäftigt sich mit dem Thema Fieldrecording im Kontext zur Komposition.

Wir kennen keine Grenzen. Weder auditiv noch geografisch legen wir uns fest und präsentieren unseren Hörern eine künstlerische Auseinandersetzung mit dem Thema der Außenaufnahmen (im weitesten Sinne) und Komposition. Also. Es geht um den gefundenen Sound. Den Klang, den man nicht selbst entwickelt, sondern dem man auf der Straße, in Hinterhöfen eben einfach draußen begegnet. Es wird hingehört, das außergewöhnliche extrahiert, dem nachgegangen, was uns in unserem täglichen Dasein oft „unhörbar“ bleibt.

Framework Radio geht der Frage nach, was Außenaufnahmen wirklich sind. Sind Sie ein Stil, ein Genre oder wird der Hörer nur mit einer unkontrollierbare Situation konfrontiert, in welche er sein Mikrofon hält um es elektroakustisch einzufangen?

Framework Radio beschäftigt sich mit der Kunst, Aufnahmen aus dem öffentlichen Raum in einen kompositorischen Kontext zu stellen und somit eine neue vielleicht unerhörte Form der Komposition zu erschaffen. Hier haben internationale Künstler die Möglichkeit sich und ihre Arbeiten zu präsentieren, sich auf ihre Art mit dem Framework Konzept auseinander zu setzten. Wir laden euch ein, eine Community kennen zu lernen, die abseits des Mainstream, neue Formen und Ansätze sucht, mit Klang und Komposition umzugehen.

framework abonnieren

Sendezeit

Donnerstags 23.00 – 0.00 Uhr

Sendet seit

30. Dez 2014

Redaktion

Andreas Usenbenz

7 Tage plus

Do. 19.07. | 23.00 - 00.00 Uhr

Podcast Archiv

Für diese Sendung sind keine Podcasts vorhanden.