Lisbon PT 03.17.2010 – framework

March.17 & 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 , 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!

London UK 03.12.2010 – framework

March.14 & 16.10

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!

Review – physical, absent, tangible (contour editions) 2010 – by BNG, WHITE-LINE


physical, absent, tangible – Compilation (contour editions) 2010

A compilation of sorts, “Physical, Absent, Tangible” brings together the creations of five artists on a new imprint curated by none other than Richard Garet. Garet’s own works have set the benchmark for soundscaping and sound installation art over the last few years, with releases on a clutch of influential labels worldwide. No surprise then, that an ear for quality control and a talent for working with discerning and intriguing artists has brought to fruition this debut edition on Contour.

I8u’s opener crystallises an interest in auditory minutiae, exploding the almost imperceptible world of the quantum and the superstrings theory, the physical world reduced to digital noughts and ones, Brownian motion set under a sonic microscope perhaps.

De Laurenti’s winding, acousmatic inversions home in on the non-physicality of source material as the locus for a pair of emergent pieces formed from the detritus of malfunctioning equipment, and hard data manipulation and construction. The second part in particular is self destructing, slowly, entropically, like a looped tape that is slowly wiping and dissolving over time, a receding memory trace, with a heterodyne clicking permeating the background.

Sanson works on a series of eight sketchy collages that he likens to assemblages of photographs, maps, old films, a meta-narrative construction that acts like a kind of auditory scrapbook, of half remembered places and events, that even the artist cannot place in his memory. Amongst this ferment of shards, Sanson’s psyche might be revealed in a curious, Ballardian reconstruction of hazy remnants, a kind of grab-bag of activities and presences, that once collaged and re-assembled, might decode or unlock some lost or repressed memory.

Mackern and Galli’s work is based on electro-magnetic interferences from the Santa Rosa storm in Uruguay, these radio frequency elements, combined with hardware hacking, and circuit bending, serve to uncloak the formerly hidden auditory signature of radio atmospherics caused by the storm – what ancient people perceived as the hypothetical “Voice of God”. This is a crackling, fizzing work, peppered with verbal interferences and strange, atonal surges, that remind me of a Storm Chaser’s bad acid trip.

All in all , this is a fine debut from a label that promises to deliver a compelling mixture of intelligently sourced material, fused with a diverse roster of artists from around the globe, taking in elements of minimalism, installation art, field recording, and everything in between. Watch this space.

BGN.
White_Line
contour editions


Montreal 03.10.2010 – Écologie Sonore

March.10.10

Ecologie Sonore

Launch of Web documentary
Wednesday, March 10 – 18:00

at  SAT
1195, boulevard Saint-Laurent à Montréal

on line March 11th 2010

Project presentation, performance by i8u and sounds installations.  Come and listen to the soundscapes and meet the artists behind this project.

Review – physical, absent, tangible (contour editions) 2010 – by Brian Olewnick, Just Oustide

physical, absent, tangible – Compilation (contour editions) 2010

Good news: Richard Garet has started his own label, Contour Editions, and the first release is a compilation of five artists, once again–as has been the case quite often recently–all new to me.

OK, anyone who knows me knows how short my patience is for noms and can imagine what it took for me to get past a piece from someone going by the moniker, i8u (count to ten, Brian) but damn if this isn’t a wonderful work. She (France Jobin) has been around for a while, actually, I’ve simply never encountered her that I can recall. “Rarefaction” is a drone piece but one containing exceptional warmth and wit. After several minutes, she introduces this luscious seesaw between a soft high hum and a super-low loud one, the relationship between the pitches sounding oddly familiar as though extracted and mutated from some pop standard. Very nice. Christopher Delaurent’s two works are darker, airy rumbles spiced with poppage, that convey a fine, slate-like texture. Not bad, though maybe a bit similar to much other music in this area.

Gil Sansón presents a suite of eight shortish pieces that mix field recordings with electronics, some of which are very lovely on their own while others drift a bit aimlessly. Their relatedness, as well (perhaps intentionally) seems tenuous, though they’re the kind of work that I feel I’d enjoy far, far more in situ, in a sizable room, rather than over speakers. The final track, by Brian Mackern and Gabriel Galli closes the disc out in excellent fashion. 14 minutes of Morse Code-infused, gritty hum, whine, whistle and assorted noise that is absolutely convincing and corporeal. Even the warped music box-y cum Jarrett-on-Fender-Rhodes-with-Miles sound emerges some ten minutes in manages to work. Good stuff, want to hear more from this pair.

By Brian Olewnick
Just Outside

contour editions


Review – Flowers, (Dragons’ Eye Recordings) 2010 – by Tobias Fisher, tokafi

Flowers – Compilation ( on line DER) 2010

To some, this anniversary compilation may seem like something of a premature party. While most labels typically celebrate their fifth or tenth year in action, Dragon’s Eye have confidently decided that four are quite enough to count as a milestone. They may have a point, however. When Yann Novak took over the outfit from his father in 2005 after an extensive phase of hibernation, after all, he had nothing to show for it but a tiny back catalogue and a healthy dose of determination. The latter proved to be a key factor. Especially in the early phase, when the odd unfavorable review would trickle in and the exact stylistic direction for the project was still slightly opaque, less self-assured souls would have given up or given in.

Not Novak. Slowly but very surely, he gathered a circle of like-minded composers around him, established an immediately recognizable corporate design and kept churning out material as though there were no tomorrow. If print runs were sometimes bigger than what the market could absorbe, this was not misguided ambition but a statement of intent: Dragon’s Eye was not going to be just another boutique label happy to print a few friendly-looking copies for art’s sake. It was going to be a professionally run and widely respected company which could stand on its own two feet and inspire others instead of borrowing from stale third party ideas.

Three factors were decisive in this respect. For one, Novak has astutely understood that Sound Art has a promising future if it manages to return to the one relationship that has always served it well: The bond with the visual arts. It is by no means a coincidence that Morton Feldman and John Cage were heavily influenced by befriended painters. Nor is it a secret that Philip Glass and Steve Reich kick started their careers by performing their first pieces in museums. In several respects, the advancement of music in the late 20th century has been a constant attempt at equaling the compelling power of abstract arts. With their regular multimedial events and partnerships with art galleries, Dragon’s Eye have not only made a clever marketing decision, but also built a fertile basis for a fruitful dialogue across different disciplines.

Secondly, like few other record companies out there, the outfit has established its own family of artists. Wyndell Hunt, Marc Manning, Jamie Drouin and, of course, Novak himself were virtually unknown before 2005 and their profiles have organically grown in sync with the gradual rise of Dragon’s Eye. Unlike many of their colleagues, who enjoy collecting releases with different labels like trophies, they have also remained faithful to them for the better part of these four years. Admittedly, established underground heroes like Steve Peters were equally part of the program and recently, Novak has branched out into a couple of household names on the scene, with releases by Ian Hawgood and Celer among others. But these have been exceptions and always served to sharpen the outfit’s image and take it one step further. Today, Dragon’s Eye is not just known for its uncompromising stance, but also for a particular mindset which goes way beyond the usual questions of sonic aesthetics and genre-affiliations.

This remarkably coherent, yet multifaceted approach has been the third and possibly most important aspect. Over time, Dragon’s Eye have catered to Drones, Ambient, Dark Ambient, Installation Soundtracks, conceptual soundscapes, controlled noise and silent music at the edge of perception without a single choice ever seeming random. As the stylistic associations have grown, so has the sensation that the artist roster was guided by a shared approach, a common angle at composing and sound sculpting. Significantly, this angle is related to a notion of purity, of never using more elements than absolutely necessary. But even more essentially, it has to do with considering ideas as the driving force behind music. For Dragon’s Eye, terms like beauty, darkness or estrangement can never exist without context. They come into existence through amplification, exaggeration, projection and contrast, in short: As artifice. Novak’s „The Air blowing over us“ (on Dragon’s Eye sister-label Infrequency), as just one example among many, made this amply clear: What would have ended up as a corny depictation of „one of the hottest days Seattle experienced in 2008, as well as the first weekend Novak spent with his partner“, ended up a thoughtful meditation on change and a claustrophobic, slowly moving soundscape built on the noises of a fan in the apartment.

With this in mind, it should surprise no one, that „Flowers“ is anything but a mere presentation of references or a lazily assembled „Best Of“. Quite on the contrary, quite a few of the musicians „Dragon’s Eye“ have become associated with are missing from this collection, while a few new names have been added to the roster. Most incisively, the collection focuses almost obsessively on a genre Novak has held dear for years, but only recently discovered as a source of inspiration for his imprint’s cover designs: Microtonal Sound Art. And so this free-to-download sampler includes luminaries like Shinkei, i8u, Tomas Phillips as well as Pierre Gerard, who also runs the highly recommended et comme le feu netlabel – while excluding a couple of mainstays. Rather than playing it safe, Novak has therefore once again made use of the opportunity to push his project beyond its existing borders and opened up yet another musical pocket for him and his artist.

This is all the more apparent as „Flowers“ manages to naturally integrate this new cosmos into the label’s body of work. Shinkei’s „Wu (for Luigi)“ is an almost programmatic effort in this respect: Subtle and crystal-clear field recordings of water, conversations and scratching noises are contrasted with discretely metallic drones and fine sheets of crackle. Short episodes are separated from each other by soundings of a prayer bell – this is a space for concentrated listening, in which every single element is to be appreciated on its own terms and the careful placing of each microscopic click suggests a conscious narrative. Meanwhile, the work of Canada’s France Jobin (aka i8u) displays unexpected similarities with Novak’s own contribution „Shortwaves to Longwaves“: Both rely on a blend of ultrahigh and extremely low frequencies, a suspenseful delineation between a highly direct foreground and a deep, atmospheric backdrop as well as a controlled friction between surgically precise material and inexplicable emotional resonances. This holds true for the compilation as a whole, which takes a turn towards more ambient-oriented pieces in the finale. Celer’s „A Lifetime of Wasted Breaths“, an endearing sequence of warm, almost spiritual chords and Wyndel Hunt’s Power-drone „Rotation“ might seem misplaced here on paper, but both turn out to make complete sense, intensifying the silence inside the listener instead of insensitively rupturing it.

Again, it is the idea of contrasts which takes hold here. By juxtaposing seemingly uncombinable material, the album as a whole is elevated to a higher plane, where these differences no longer matter. If this is where Novak wants to take the label in the future, then we’re in for a hell of an 8th birthday party.

By Tobias Fischer
tokafi

Dragon’s Eye Recording

South Devon UK 01.23.2010 – framework

January 23.10

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 #3)

As mentioned in earlier installments, my interpretation of field recording based work 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.

For the next two editions of “my favorite things”, i will focus on a particular label based in Vienna. The label is nvo, non visual objects and it 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 1st cd’s issued as well as excerpts from the book.

Playlist + additional info below

Tracks Artists & Websites

1. Fingers pointing at the moon, Keith Berry – twoinchesofftheground.com
2. A field for recordings 2,  Richard Chartier – 3particles.com
3. Live in Osaka, Taylor Deupreee – 12k.com
4. nbvto, Heribert Friedl – nonvisualobjects.com
5. Précis,  Richard Garet – richardgaret.com
6. Microclimates for Paliku, Andy Graydon – andygraydon.net
7. Listen to what you see,  Bernhard Günter – trenteoiseaux.de
8. Radio, John Hudak – johnhudak.net
9. In Absentia , Dean King – etoami.com
10. Provisional,  Dale Lloyd – and-oar.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 01.22.2010 – framework

January 22.10

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 #3)

As mentioned in earlier installments, my interpretation of field recording based work 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.

For the next two editions of “my favorite things”, i will focus on a particular label based in Vienna. The label is nvo, non visual objects and it 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 1st cd’s issued as well as excerpts from the book.

Playlist + additional info below

Tracks Artists & Websites

1. Fingers pointing at the moon, Keith Berry – twoinchesofftheground.com
2. A field for recordings 2,  Richard Chartier – 3particles.com
3. Live in Osaka, Taylor Deupreee – 12k.com
4. nbvto, Heribert Friedl – nonvisualobjects.com
5. Précis,  Richard Garet – richardgaret.com
6. Microclimates for Paliku, Andy Graydon – andygraydon.net
7. Listen to what you see,  Bernhard Günter – trenteoiseaux.de
8. Radio, John Hudak – johnhudak.net
9. In Absentia , Dean King – etoami.com
10. Provisional,  Dale Lloyd – and-oar.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!

Montreal 01.21.2010 – The Calendar Project

Crystal House excerpt from January ,The Calendar Project
http://www.calendarproject.ca/en/

Credits : Crystal House

Creation: Tedi Tafel
Dancer: Bill Coleman
Lighting: Yan Lee Chan
Sound: i8u

January 21-22-23.10

The Calendar Project: A year-long, site-specific performance series created by Tedi Tafel

Calendar is a year-long, in situ performance series starting in January 2010 comprised of 12 events – one a month for the entire year. The series draws its inspiration from the seasonal shifts and cycles of the natural world. Each event is closely tied to the time of year in which it will be presented. Calendar takes a variety of forms from the discrete to the elaborate, and will be shown in a diverse array of spaces in Montreal including an industrial warehouse, a backyard garden and an alleyway.

Events vary in length lasting anywhere from mere minutes to several hours occurring at different times of the day. All events are free. calendarproject.ca will be updated and disseminated monthly announcing future events and documenting past ones through images, text and sound.

WHEN: . . . . . January 21-23 between 6 and 9 p.m.
WHERE: . . . . . Espace Jean Brillant
661 Rose de Lima
Montreal, Quebec
Canada
(near metro Lionel Groulx)


January

we enter this wintery space and are stilled
a time of no time, of shadow, hibernation, dream and memory
life is underground, slowed right down
images emerge out of the cold, at times only barely perceptible and light reaches through the darkness

(Tedi Tafel)

This collaborative performance takes the form of a moving installation blending dance, sound, light and video projections. The work will be shown for 3 hours. The public is invited to come and go as they please and to move around the space as they wish. Admission is free.


Credits

Conception/Direction/Video Images: Tedi Tafel
Performance: Leslie Baker, Bill Coleman, Dean Makarenko, Lin Snelling
Sound Environment: Monique Jean, i8u (France Jobin)
Lighting: Yan Lee Chan
Technical Assistance (video): Jonathan Inksetter

for more info: calendarproject.ca

Lisbon PT 01.21.2010 – framework

January 20 & 21.10
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 #3)

As mentioned in earlier installments, my interpretation of field recording based work 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.

For the next two editions of “my favorite things”, i will focus on a particular label based in Vienna. The label is nvo, non visual objects and it 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 1st cd’s issued as well as excerpts from the book.

Playlist + additional info below

Tracks Artists & Websites

1. Fingers pointing at the moon,  Keith Berry – twoinchesofftheground.com
2. A field for recordings 2, Richard Chartier – 3particles.com
3. Live in Osaka,  Taylor Deupreee – 12k.com
4. nbvto, Heribert Friedl – nonvisualobjects.com
5. Précis, Richard Garet – richardgaret.com
6. Microclimates for Paliku,  Andy Graydon – andygraydon.net
7. Listen to what you see, Bernhard Günter – trenteoiseaux.de
8. Radio , John Hudak – johnhudak.net
9. In Absentia, Dean King – etoami.com
10. Provisional, Dale Lloyd – and-oar.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!