Review – physical, absent, tangible (Contour Editions) 2010 – by Adrian Dziewanski, scrapyardforecast


Physical, Absent, Tangible, i8u, Christopher Delaurenti, Gil Sansón and Brian Mackern & Gabriel Galli

18.5.10
Various Artists ‘Physical, Absent, Tangible’ cd-r (Contour Editions, 2010)

It’s shaping up to be a pretty damn good year for the compilation, which has sadly always sort of let me down. For what few I do actually own–label comps, musical collectives, various artists comps–I rarely go back too. Please indulge me in a very winged hypothesis that maybe the ‘compilation’ as an art form/object is just now finally coming into its own. Or, a far more likely scenario: I just haven’t been looking hard enough for the good ones. The ones that really dig their hooks into the listener.

With this said there are some giant exceptions, Elevator Bath’s A Cleansing Ascension from a couple years back was and still is very enjoyable. Recent personal discoveries like the highly anticipated and grossly delayed release of Paper & Plastic on suitcase/petri supply/incubator (March 2010), and the Patrick Mckinley (aka Murmer) curated Framework 250 (Much more info on that soon, check back at the end of the month) discs have re-sparked my faith in the potential potency of the compilation. If some of you remember or can refer back to the Not Alone 5 disc set compiled by Mark Logan of Jnana Records and Current 93’s David Tibet from 2006 then you might understand where my criticism of comps stems from.

Before you start sending me negative vibes and waving your arms around in rage… stop, and hear me out. Almost every artist on that compilation was a favourite of mine at some moment in time, and actually, I was exposed to some bands that I ended up really liking as a direct result of it. Furthermore, as a Doctors Without Borders fundraiser, you couldn’t really argue that it wasn’t for a good cause. But! those discs did lack something. Because of how eclectic all the musicians were it there lacked a fluidity and cohesiveness that other compilations have been able to achieve. I don’t blame Logan either, as it must have been hell trying to lump all those acts together. I don’t actually think it could of turned out better than it did with so much variance in musical style. So what’s my point? let’s just say that there is something to be said about the selection and attention to the congruity of musical styles when assembling such delicate documents.

Various Artists
‘Physical, Absent, Tangible’
cd-r (Contour Editions, 2010)

Physical, Absent, Tangible is kept simple, which plays out very much to its favour. The four artists found within fill their respective musical roles with a unified understanding of what those roles represent. The whole thing works very well. Canadian based i8u kicks things off with an eleven and a half minute analog synth work that juxtaposes high and low frequencies resulting in a pleasant sonic parallel. The experience is a lot like standing on a small patch of land in between two rivers. Christorpher Delauenti’s two pieces are absolutely sublime, the first, “sigil” is a short but impressive arrangement of feedback squall and tonal noise. Where as “nictating” begins as a looped low-end rumble that eventually dismantles as a simmering drone; the album’s high point. Gil Sansón provides eight short pieces that seem to represent fragments of a whole. In consideration of their brevity–and that usually this kind of off-the-grid minimalism is best represented in the long form–Sansón’s section remains very strong. The final contribution, a collaborative work by Brian Mackern and Gabriel Galli (both new to me) is a static soaked excursion into subdued tactility. What sounds like morse code thrown into the mix gives this piece a real Tracer era Omit feel–definitely a good thing. Impressive stuff. Kudos to a very tasteful ice breaker for the label Mr. Garet.

und transit on NVO 022 (2010)

NVO 022 christophe charles / i8u
unter den linden / und transit
on nonvisuelobjects

unter den linden

The “Grundton” of this 30-minute composition is the recording of the concert given at SND STUDIOS SHEFFIELD (UK) in March 2009, entitled “Why is there something rather than nothing?” by Mark Fell and powered with d&b speakers by Tony Myatt (MRC, University of York). The sounds of planes have been recorded in Mallorca (Spain) in 1987, and in Pilat (France) in 2009. This music comes after HCDC, composed in November 2008 after the death of Daniel Charles – his last days were darkened by breathing difficulties, hence the overall presence of the “wind”. The last five minutes were composed in 1987 with telephone bells, a silo and a Spanish garbage truck, under the name “unter den linden”. The piece is not related with Berlin, but with Jules Massenet’s “Sous les tilleuls” (from “Scenes alsaciennes” where bells are heard in a distance and thus modified by the wind), and evokes a peaceful atmosphere just before the bombs begin to fall.

Christophe Charles, September 2009


This world of ours is one relative world. Any number of other possible or actual worlds are conceivable. Each such world is able to reflect all the others without ceasing
to be the real world that it is of itself.

Nishitani Keiji

und transit

The conceptual framework of “und transit” was conceived while taking part in a 3 months artist residency in Krems, Austria (2008/09). While in transit (daily walks) to my studio, I was inspired by a particular passageway in Minoritenplatz.
Like most passageways, which are a means to an end – and are rarely treated as an end in itself – I was immediately struck by the loneliness and practicality of this space as well as the capacity of the users to ignore it on a daily basis. During the course of my residency I collected a number of field recordings in and around Krems, in order to create a series of soundscapes based on Minoritenplatz’s sound of emptiness through the means of a quadraphonic installation.
These compositions represent some of the pieces composed for “und transit”.

i8u (France Jobin)


Follow your bliss.

Joseph Campell

+

NVO 021
Tim Blechmann / Seijiro Murayama
347
NVO 023
asher / fourm
selected passages / set.grey

Review – physical, absent, tangible (Contour Editions) 2010 – by Sietse van Erve, EARLabs

Physical, Absent, Tangible, i8u, Christopher Delaurenti, Gil Sansón and Brian Mackern & Gabriel Galli –
RATED: 8 / 10

A compilation of tracks with the theme of past spaces, memories and time. 4 acts showcase their own take on this subject. There were sound-art and music meet. It doesn’t happen very often that we receive compilations here at EARLabs. This is easy to explain because in most cases compilations are not really are not really a cohesion of tracks, though on the other hand if done well they can say a lot about the label and the involved musicians. In the last category is the collection of 12 tracks that are brought together on Physical, Absent, Tangible on the label run by Richard Garet: Contour Editions. The four acts involved are i8u, Christopher Delaurenti, Gil Sansón and collaboration between Brian Mackern & Gabriel Galli.

Physical, Absent, Tangible gives a clear idea about what Contour Editions stands for. The musical pieces we find here are in the musical outsiders field of sound-art. The artists all approached the sound world here with an inspiration of gone spaces. Gaps in space and time.

The first piece is Rarefraction by i8u. A minimal piece with low sine drones and high pitched beeps. At least that’s how it starts. Gradually the piece transfers into some sort of big emptiness, while the high pitched sounds re-occur through out the whole piece the main part seems to be more ambient drone based. Soft soundscapes set a scenery of a huge empty space, while the high pitches seem more like a proof of organic happenings. As if something is trying to find its way. While at points the high pitches can sound a bit annoying still overall this is a strong piece. It is one with a lot to discover.
The next artist up is Christopher Delaurenti. His approach is from another angle. He presents two different pieces. The first, Sigil, is one based on distorted and clipping low-end noise and feedback. In the piece there are returning cycles. The soundstructures are suitable for a live setting where a surround system is used to let the music spin through the room. The different pulses could blow the audience away. For cd, though, it is a less interesting piece. It stays a bit on the same side of things.

The second piece by Delaurenti is from another level. This is much more for the home listening session. Nictating works with several layered loops. The background is filled with pulsating noise while more to the foreground clicks are slowly evolving through time. The continuous adding and removing of loops makes this an interesting piece. There is a slow transgression in the music that makes it surrounding throughout the complete room. While some of the loops keep on returning the music never becomes boring.
Next up is Gil Sansón, who delivered 8 pieces by the same name La Montaña S Ha Ido. The source for this pieces are field recordings and archived sounds which Sansón had made in the past but forgot where they came from. With these he tried to recreate situations that could have been the original setting. Throughout these pieces there doesn’t seem to be a line to connect them soundwise. Some of the pieces are more drone based, while others hang in the musique concrete side of music. Due to the way Sansón worked the pieces stay a lot on the sketch side, leaving a feeling that it could have been a bit more.

The last act is the duo Brian Mackern & Gabriel Galli. They present a 14 minutes long piece called 34S56W/Temporal De Santa Rosa. The piece is based on radiomagnetic interferences that were generated dring the De Santa Rosa storm in Urugruay. They made use of radio receivers, circuit-bended apparatus and much more. The piece knows a certain progression from pure radiostatics to a rich layered structure of drones, noise and hiss, but honest enough it also shows the most “musical” sides of all pieces presented here. The duo makes use of certain melodic elements which we do not find in any of the other tracks. Besides that the development shows a lot of exciting things with both gradual and abrupt changes taking place. Due to the used instrumentation the sound is quite lo-fi. But, in this case it really adds to the character of the music. It easily fits in with the tape sounds done by Norwegian duo Bjerga/Iversen. A great composition to finish this compilation with.

Physical, Absent, Tangible is a good compilation which promises more interesting things to come from Contour Editions. Though, it is more than just a sampler, it is a nice collection with a strict theme interpreted from different sides. Recommended to check out.

EARLabs

PARIS 03.18.10 – 05.15.10 – EVENT HORIZON by Cédrick Eymenier | i8u

EVENT HORIZON is presented in the context of an exhibit of Cédrick Eymenier photographies and video works at Gallery Poggi | bertoux associés, 115, 117 rue La Fayette,  75010 Paris – 33 (0)95102 5188 Rez-de-chaussée, fond de cour/backyard.

[qt:/eh/event_horizon.m4v 480 240]

EVENT HORIZON Cédrick Eymenier | i8u

EVENT HORIZON is an experimental audio/visual work by i8u (audio) and
Cédrick Eymenier (visual) developed in the summer of 2009.The title of the piece was drawn from the physics term “event horizon” which is a bizarre boundary in space time which gives a black hole it’s name.  It is the proximity point in which no matter or radiation (ex.light) can escape and thereby affect an outside observer.  It is the black holes effects on its surroundings and the light that doesn’t pass the
event horizon that gives physicists their awareness that the black hole
exists.

This project involves the observation of a cityscape after nightfall. The minimal light observed over the city at night masks the flurry of activity that is obscured by
buildings and darkness.

EVENT HORIZON explores the solitary observations of events transmitted via
minimal stimuli and the understanding of the existence of incomprehensibly
massive amounts of activity that cannot affect the outside observer other
than the knowledge that it exists and it is obscured.

In short, it explores the interaction of the subject with the city and the
emotions that come with various sensory stimuli and the contemplation of
what the darkness obscures.

i8u | Cédrick Eyremier

Review – Untitled 10, The black album – by Textura

VA: Untitled 10 (The Black Album)
Untitled & After
The material on Untitled & After’s tenth release is rooted in techno but spreads its wings far beyond a strict minimal template. The inclusion of field recordings, ambient-dub textures, and a generally expansive approach gives the compilation a wide-screen character that extends its sights beyond the confines of the club. Two focal points emerge in virtually every case: the first a rhythm dimension; the second colourful ambient-electronic scene-painting. Untitled 10 (The Black Album) lists some stellar names as contributors, with Morgan Packard, Andrew Duke, Bizz Circuits, and Leyland Kirby amongst the better-known. Repeated exposure to the album brings into clear focus an interesting trajectory, as the material gradually distances itself from a rhythm-based approach until beats vanish entirely during the recording’s second half.
The album opener “Apple Pie” suggests Morgan Packard’s been soaking up the music of Robert Henke in recent times, a suspicion bolstered when a number of Monolake-like signifiers surface during its five-minute time in the spotlight: sleek and polished surfaces, atmospheric bass rumble, and a forward-thrusting minimal techno pulse. “Hovercraft,” a collaboration between Andrew Duke and i8u, rolls along with a breezy, lighter-than-air techno bump that conveys the movement of its titular transport, while an accompanying Chaircrusher remix infuses the original with a heavier industrial quality and cloaks it in a multi-layered cloud of hazy melodies and noxious atmosphere. Some tracks opt for a more purely ambient textural approach that excludes beats, as confirmed by lovely meditations by sublamp (“andamurmur”) and Robert Crouch and Yann Novak (“Santa Fe”). And sometimes there is truth in advertising, as “Big Air (Ambient Mix),” a cloudy collaborative piece by Jondi & Spesh with Brian Stillwater illustrates. Leyland Kirby takes the project out on a characteristically distinctive note when the stately “Ready To Go Down Together” evokes a mutant processional where fuzz-toned guitars serenade angelic choirs amidst billowing synthetic flourishes.
April 2010

Review – physical, absent, tangible (Contour Editions) 2010 – by Jim at Aquarius Records in SF

V/A Physical, Absent, Tangible (Contour Editions) cd-r 11.98


Contour Editions is a new label curated by New York based sound artist Richard Garet, whose tense grey drones had marked his very impressive Four Malleable 2cd set on And/OAR as well as an exceptional collaboration with Brendan Murray released back in 2009. The same technical rigor that Garet employs in his own compositions extends to this compilation of various artists working around the globe, including i8u (Canada), Christopher DeLaurenti (Seattle), Gil Sanson (Venezuela), and Brian Mackern & Gabriel Galli (Uruguay). Aside from DeLaurenti, whose phonography collection of orchestral intermissions has long been a favorite of ours, this compilation is an introduction to all of the artists present. Not a bad thing at all, considering how strong each contribution is. Garet had charged these sound artists to consider the “evocation of the in-between immaterial spaces” – not quite the existential pursuit into nothingness, silence, or the void; but rather, the faintest of sounds brought close to the event horizon, the ghosts that tickle at the edge of perception, etc. Fortunately, none of the artists employ the clicks and cuts techniques which emerged from the Max/MSP crowd from the nascent days of the millennium. Sure, things are quiet and undoubtedly processed and/or produced by digital means.

i8u is the work of Canadian composer France Jobin, who’s actually been around quite a while, producing all sorts of electronica-laced computer-driven compositions. Her track eschews all of the mid-range frequencies, instead splitting her attention between a deep rumbling low-end of a slightest pierced tones at the high-end. Despite the extremes of tonality, there’s something rather lulling and enveloping about this piece almost achieving the same generative stasis that Thomas Koner produces. Christopher DeLaurenti presents two tracks of stone-faced slabs of grey noises looped and snapped into a darkened ambience. Gil Sanson’s eight vignettes are open ended by design, with the composer encouraging the listener to hit shuffle on the cd player. These buzzes, drones, and smeared field recordings connect through a muted aesthetic of dreamy discomfort. The Mackern & Galli piece bristles with electrical static cracked upon a shortwave radio with Morse code blips streaming into the foreground and peculiar gestures of feedback sneaking throughout. Bits of radio transmission break through these disembodied elements, giving the piece the detached aesthetic which was endemic to The Conet Project and The Ghost Orchid, despite the very-hands on approach to this piece. All together, the album seamlessly flows from one track to the other, almost making it difficult to discern where one composition begins and another ends.

Hopefully, one of many good things to come from Mr. Garet’s label. Oh yes, it’s limited to 150 copies, too!


MPEG Stream: I8U “Rarefaction”
MPEG Stream: CHRISTOPHER DELAURENTI “Sigil”
MPEG Stream: GIL SANSON “La Montana Se Ha Ido 4”
MPEG Stream: BRIAN MACKERN & GABRIEL GALLI “Temporal De Santa Rosa”


http://www.aquariusrecords.org/cat/jim.html

Album – Comp – Untitled 10 – Various Artists on Untitled & After (2010)

| CD | UntitledandAfter | compilation

Various artists – Untitled 10

03.23.2010
Tracks:

Morgan Packard – Apple Pie
Robert Crouch – 5th of July
Andrew Duke + i8u – Hovercraft
Andrew Duke + i8u – Hovercraft (Chaircrusher Remix)
Birdcage – When Dream and Day Unite
Bizz Circuits – mouvement aérien
sublamp – andamurmur
Jondi & Spesh with Brian Stillwater – Big Air (Ambient Mix)
Robert Crouch / Yann Novak – Santa Fe
Leyland Kirby – Ready To Go Down Together
Artwork by Marc Kate

About:

For its tenth release, Untitled & After issues a compilation of music that seeks solace in the outer reaches of electronic music. Akin to Kompakt’s Pop Ambient series, Untitled 10 (The Black Album) pulls away from the structures of techno into more expansive terrain.
Collected from artists as diverse as Bizz Circuits and Morgan Packard, from locations as distant as Sapporo, Los Angeles and Berlin, Untitled 10 (The Black Album) is a meditation on the tension between force and fragility. An extension of the beat driven roots of Untitled & After, this compilation revels in the paranoid spaciousness of dub, the personal documents of field recordings and the otherworldliness of soft synthesis. Here, ambient is not a genre, but a timeless, spaceless moment. Untitled 10 (The Black Album) attempts the impossible by documenting something so fleeting.

South Devon UK 03.19.2010 – framework

March.19.10

This sunday on framework  resonance.fm :“these are few of my favorite things”  by i8u

/*framework* / – phonography / field recording;
contextual and decontextualized sound activity
presented by patrick mcginley

*framework*/ broadcasts:
sunday, 10pm, london, uk on resonance 104.4fm (http://www.resonancefm.com)
tuesday, 2pm, london, uk on resonance 104.4fm (http://www.resonancefm.com)
wednesday, 12am, thessaloniki, gr on cooradio (http://www.cooradio.com)
wednesday, 3am, lisbon, pt on radio zero (http://www.radiozero.pt)
thursday, 7pm, lisbon, pt on radio zero (http://www.radiozero.pt)
friday, 1am, brussels, be on radio campus 92.1fm (http://www.radiocampusbruxelles.org)
saturday, 5pm, south devon, uk on soundartradio 102.5fm (http://www.soundartradio.org.uk)

Framework – i8u – my favorite things (Installment #4)

As mentioned in earlier installments, my interpretation of field recording based works, is very broad however, the thread I like to follow is to find artists who have mastered their unique identity through the music of sound.

This is the 2nd part of “my favorite things” devoted to nvo. The label is nvo, non visual objects, was founded in 2005 by Heribert Friedl and Raphael Moser. In 2007, nvo released : Extract, Portraits of Soundartists, a book and 2 cd’s.

The next hour will be devoted to the 2nd cd’s issued as well as excerpts from the book.
Playlist + additional info below

Playlist + additional info below

Tracks Artists & Websites

1. (hole in a heap), Roel Meelkop – r0m.nl/
2. Split chance ,  Will Montgomery – selvageflame.com
3. Each More Melodious Note , To, Jos Smolders – jossmolder.nl
6. Parallel,  Steinbrüchel – synchron.ch
7. Nature Out,  Nao Sugimoto (mondii) – spekk.net
8. Vierte Beisetzung in Wien, Asmus Tietchens – tietchens.de
9. Scenery of vibration/Listening to the reflection of points, Toshiya Tsunoda – toshiyatsunoda.com
10. Lux Vivens, Ubeboet – con-v.org
11. Geste,  Michael Vorfeld – vorfeld.org

Additional info:

Extract -Portraits of Soundartists nvo 011 (2007)

Introduction

Since we started the label Nonvisualobjects two years ago, many collaborations with artists worldwide have arisen, a large, growing network has evolved and an extensive body of work has been formed that we would like to explore and try to sum up. The book developed from the idea of presenting an extract of artists involved in the current experimental electro-acoustic music scene, often following a rather reduced approach in their work. We would like to present artists that work in different areas in this field of electro-acoustic music, to cover a large spectrum even in this quite specific area.

With essays, interviews, photos, drawings and other materials presented in this book, we try to look at the motivation and intention behind the sound production from different perspectives, to possibly allow for a new/extended approach to this form of music. Many of the artists involved in this project do not exclusively work with sound, but also in other artistic disciplines. In this book we would like to present these other sides of their work to allow crossreferences/crosslinks to open up new aspects of the music.

The chapters consist of collage-like contributions. Images and text should not necessarily be regarded as complete units, but are open to various possibilites of interpretation.

It was not our intention to present a discourse in theories of art and music. It was also not our wish to present a curated work on a specific topic. Instead we wanted to show very personal portraits created by the artists themselves, which describe their way of working, the methodology of their sound production and which also portray the artist’s physical and not only their intellectual environment – where one lives, things of everyday life, things of interest and inspiration.

In the fast moving times of the digital era, it was also our wish to, at least partly, hold on to an analogue medium. Should the inevitable decay of digitally stored media ever lead to the disappearance of much of contemporary art and culture, the possibility to refer to this book would still remain.

Heribert Friedl, Raphael Moser

nonvisualobjects.com

~ time zone converter:  http://thesaturnv.com/converter.html ~
*for general info, playlists, podcasts, or to stream the latest edition

at any time: http://www.frameworkradio.net
<http://www.resonancefm.com/framework>*

*framework is supported by /soundtransit/: http://www.soundtransit.nl *

RESONANCE FM’S PROGRAMMING IS PRODUCED ENTIRELY BY VOLUNTEERS; PLEASE HELP US TO CONTINUE BY MAKING A DONATION.  CHECK OUT OUR WEBSITE TO FIND OUT HOW YOU CAN HELP KEEP RESONANCE ON THE AIR: HTTP://WWW.RESONANCEFM.COM.  THANK YOU!

*******************************************************
FRAMEWORK NEEDS YOUR SUPPORT!
*******************************************************
your subscriptions & donations help make the production of framework possible. visit out website to find out how to become a regular donor, or make a one-time donation here: http://www.murmerings.com/donate.html. 25% of all donations go to resonancefm, without whom framework would not exist. (if you would like to donate directly to resonancefm please visit their support page here: http://www.resonancefm.com/support.)

PLUS, IN CELEBRATION OF FRAMEWORK’S 250TH EDITION, DONATE €25 OR MORE AND RECEIVE ONE OF THE FRAMEWORK250 2CD COMPILATIONS, OR €40 OR MORE AND RECEIVE BOTH!

Brussels BE 03.18.2010 – framework

March.18.10

This sunday on framework  resonance.fm : “these are few of my favorite things”  by i8u

/*framework* / – phonography / field recording;
contextual and decontextualized sound activity
presented by patrick mcginley

*framework*/ broadcasts:
sunday, 10pm, london, uk on resonance 104.4fm (http://www.resonancefm.com)
tuesday, 2pm, london, uk on resonance 104.4fm (http://www.resonancefm.com)
wednesday, 12am, thessaloniki, gr on cooradio (http://www.cooradio.com)
wednesday, 3am, lisbon, pt on radio zero (http://www.radiozero.pt)
thursday, 7pm, lisbon, pt on radio zero (http://www.radiozero.pt)
friday, 1am, brussels, be on radio campus 92.1fm (http://www.radiocampusbruxelles.org)
saturday, 5pm, south devon, uk on soundartradio 102.5fm (http://www.soundartradio.org.uk)

Framework – i8u – my favorite things (Installment #4)

As mentioned in earlier installments, my interpretation of field recording based works, is very broad however, the thread I like to follow is to find artists who have mastered their unique identity through the music of sound.

This is the 2nd part of “my favorite things” devoted to nvo. The label is nvo, non visual objects, was founded in 2005 by Heribert Friedl and Raphael Moser. In 2007, nvo released : Extract, Portraits of Soundartists, a book and 2 cd’s.

The next hour will be devoted to the 2nd cd’s issued as well as excerpts from the book.
Playlist + additional info below

Playlist + additional info below

Tracks Artists & Websites

1. (hole in a heap),  Roel Meelkop – r0m.nl/
2. Split chance,  Will Montgomery – selvageflame.com
3. Each More Melodious Note, Tomas Phillips – incursion.org/phillips/
4. air into form/voice into breath, Steve Roden – inbetweennoise.com
5.Aiolos (Vangsaa Interior),  Jos Smolders – jossmolder.nl
6. Parallel, Steinbrüchel – synchron.ch
7. Nature Out, Nao Sugimoto (mondii) – spekk.net
8. Vierte Beisetzung in Wien , Asmus Tietchens – tietchens.de
9. Scenery of vibration/ Listening to the reflection of points, Toshiya Tsunoda – toshiyatsunoda.com
10. Lux Vivens,  Ubeboet – con-v.org
11. Geste, Michael Vorfeld – vorfeld.org

Additional info:

Extract -Portraits of Soundartists nvo 011 (2007)

Introduction

Since we started the label Nonvisualobjects two years ago, many collaborations with artists worldwide have arisen, a large, growing network has evolved and an extensive body of work has been formed that we would like to explore and try to sum up. The book developed from the idea of presenting an extract of artists involved in the current experimental electro-acoustic music scene, often following a rather reduced approach in their work. We would like to present artists that work in different areas in this field of electro-acoustic music, to cover a large spectrum even in this quite specific area.

With essays, interviews, photos, drawings and other materials presented in this book, we try to look at the motivation and intention behind the sound production from different perspectives, to possibly allow for a new/extended approach to this form of music. Many of the artists involved in this project do not exclusively work with sound, but also in other artistic disciplines. In this book we would like to present these other sides of their work to allow crossreferences/crosslinks to open up new aspects of the music.

The chapters consist of collage-like contributions. Images and text should not necessarily be regarded as complete units, but are open to various possibilites of interpretation.

It was not our intention to present a discourse in theories of art and music. It was also not our wish to present a curated work on a specific topic. Instead we wanted to show very personal portraits created by the artists themselves, which describe their way of working, the methodology of their sound production and which also portray the artist’s physical and not only their intellectual environment – where one lives, things of everyday life, things of interest and inspiration.

In the fast moving times of the digital era, it was also our wish to, at least partly, hold on to an analogue medium. Should the inevitable decay of digitally stored media ever lead to the disappearance of much of contemporary art and culture, the possibility to refer to this book would still remain.

Heribert Friedl, Raphael Moser

nonvisualobjects.com

~ time zone converter:  http://thesaturnv.com/converter.html ~
*for general info, playlists, podcasts, or to stream the latest edition

at any time: http://www.frameworkradio.net
<http://www.resonancefm.com/framework>*

*framework is supported by /soundtransit/: http://www.soundtransit.nl *

RESONANCE FM’S PROGRAMMING IS PRODUCED ENTIRELY BY VOLUNTEERS; PLEASE HELP US TO CONTINUE BY MAKING A DONATION.  CHECK OUT OUR WEBSITE TO FIND OUT HOW YOU CAN HELP KEEP RESONANCE ON THE AIR: HTTP://WWW.RESONANCEFM.COM.  THANK YOU!

*******************************************************
FRAMEWORK NEEDS YOUR SUPPORT!
*******************************************************
your subscriptions & donations help make the production of framework possible. visit out website to find out how to become a regular donor, or make a one-time donation here: http://www.murmerings.com/donate.html. 25% of all donations go to resonancefm, without whom framework would not exist. (if you would like to donate directly to resonancefm please visit their support page here: http://www.resonancefm.com/support.)

PLUS, IN CELEBRATION OF FRAMEWORK’S 250TH EDITION, DONATE €25 OR MORE AND RECEIVE ONE OF THE FRAMEWORK250 2CD COMPILATIONS, OR €40 OR MORE AND RECEIVE BOTH!

Tessaloniki GR 03.17.2010 – framework

March.17.10

This sunday on Framework  resonance.fm : “these are few of my favorite things”  by i8u

/*framework* / – phonography / field recording;
contextual and decontextualized sound activity
presented by patrick mcginley

*framework*/ broadcasts:
sunday, 10pm, london, uk on resonance 104.4fm (http://www.resonancefm.com)
tuesday, 2pm, london, uk on resonance 104.4fm (http://www.resonancefm.com)
wednesday, 12am, thessaloniki, gr on cooradio (http://www.cooradio.com)
wednesday, 3am, lisbon, pt on radio zero (http://www.radiozero.pt)
thursday, 7pm, lisbon, pt on radio zero (http://www.radiozero.pt)
friday, 1am, brussels, be on radio campus 92.1fm (http://www.radiocampusbruxelles.org)
saturday, 5pm, south devon, uk on soundartradio 102.5fm (http://www.soundartradio.org.uk)

Framework – i8u – my favorite things (Installment #4)

As mentioned in earlier installments, my interpretation of field recording based works, is very broad however, the thread I like to follow is to find artists who have mastered their unique identity through the music of sound.

This is the 2nd part of “my favorite things” devoted to nvo. The label is nvo, non visual objects, was founded in 2005 by Heribert Friedl and Raphael Moser. In 2007, nvo released : Extract, Portraits of Soundartists, a book and 2 cd’s.

The next hour will be devoted to the 2nd cd’s issued as well as excerpts from the book.
Playlist + additional info below

1. (hole in a heap), Roel Meelkop – r0m.nl/
2. Split chance ,  Will Montgomery – selvageflame.com
3. Each More Melodious Note , To, Jos Smolders – jossmolder.nl
6. Parallel,  Steinbrüchel – synchron.ch
7. Nature Out,  Nao Sugimoto (mondii) – spekk.net
8. Vierte Beisetzung in Wien, Asmus Tietchens – tietchens.de
9. Scenery of vibration/Listening to the reflection of points, Toshiya Tsunoda – toshiyatsunoda.com
10. Lux Vivens, Ubeboet – con-v.org
11. Geste,  Michael Vorfeld – vorfeld.org

Additional info:

Extract -Portraits of Soundartists nvo 011 (2007)

Introduction

Since we started the label Nonvisualobjects two years ago, many collaborations with artists worldwide have arisen, a large, growing network has evolved and an extensive body of work has been formed that we would like to explore and try to sum up. The book developed from the idea of presenting an extract of artists involved in the current experimental electro-acoustic music scene, often following a rather reduced approach in their work. We would like to present artists that work in different areas in this field of electro-acoustic music, to cover a large spectrum even in this quite specific area.

With essays, interviews, photos, drawings and other materials presented in this book, we try to look at the motivation and intention behind the sound production from different perspectives, to possibly allow for a new/extended approach to this form of music. Many of the artists involved in this project do not exclusively work with sound, but also in other artistic disciplines. In this book we would like to present these other sides of their work to allow crossreferences/crosslinks to open up new aspects of the music.

The chapters consist of collage-like contributions. Images and text should not necessarily be regarded as complete units, but are open to various possibilites of interpretation.

It was not our intention to present a discourse in theories of art and music. It was also not our wish to present a curated work on a specific topic. Instead we wanted to show very personal portraits created by the artists themselves, which describe their way of working, the methodology of their sound production and which also portray the artist’s physical and not only their intellectual environment – where one lives, things of everyday life, things of interest and inspiration.

In the fast moving times of the digital era, it was also our wish to, at least partly, hold on to an analogue medium. Should the inevitable decay of digitally stored media ever lead to the disappearance of much of contemporary art and culture, the possibility to refer to this book would still remain.

Heribert Friedl, Raphael Moser

nonvisualobjects.com

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