Sonic Gaze Media

Sonic Gaze Media - Video, audio and text documents on the subject of Soundwalks, Sonic Gaze projects, Acoustic Ecology and Sound Art

Soundwalk in Gaspe, Quebec, Canada for World listening day…
Hildegard Westerkamp: What’s in a Soundwalk? (Sonic Acts XIII,…
Introduction and invitation to propose a media inclusion.  

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framework radio

28 January 2022

phonography ::: field recording ::: the art of sound-hunting ::: open your ears and listen framework radio
  • #785: 2022.01.23
    i love it when i discover that artists whose work i love know one another and are working together, as has happened with my discovery of yen-ting hsu's collaborative recording documents with yannick dauby - 2 volumes of recordings from chiayi in southern taiwan. we're exploring vol.1 in this edition, and we'll come back for vol.2 some time in the coming months. we're also listening to some fine minimal textures on a new self-release by willem sannen, a short work on cronica electronica by miguel a. garcia, an unreleased work which can be heard on soundcloud by mathias guilbaud, a gem in the prolific output of canadian label empreintes digitals by roxanne turcotte (is anyone else reminded of totoro's flute playing at the debut of her track les oiseaux de nias?), an audio portrait of the river in the hometown, the charles, by ana laura malmaceda, and a nice old-time mountain music intro recorded for us in athens, alabama (yes, there's one there too) by ben link collins.
  • #784: 2022.01.16 [france jobin]
    Bonjour, I am France Jobin, Welcome to these are a few of my favorite things. 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. With this edition of my favorite things, it is my pleasure to showcase sound artists from Medellin, Colombia.
  • #783: 2022.01.09
    happy new year! we've had a refreshing few weeks off, but we're back now with a full schedule of new material, guest producers, and plans for 2022. we're getting off to a running start with our first show back, which began with a healthy dose of skepticism by a perhaps unwilling listener, before moving us through sounds from the uk, france, norway, the us, greece and saudi arabia.
  • #782: 2021.12.19
    this is our final show for 2021, and it comes with a small gift for you, dear listener - we're making this week's voiceover-free version of the show, usually reserved for our patreon supporters, available to everyone, just click the link above to enjoy this final mix of the year without all my babbling. we know many of you enjoy the dulcet tones of my whisky-soaked voicebox (if i'm lucky), but some of you may prefer to hear the sounds contributed by the amazing artists listed below without having to listen to me babble on about the weather and our bandcamp page. so - listen! enjoy! and happy holidays! for our final mix of the year we're taking another dip in to the possible moistures compilation, exploring the new release sent to us on an actual cd in the actual post (!) by annette krebs, enjoying some crackle and scratch by s.(tandard) grey, finally remembering to air two single unreleased works (they tend to get misplaced in the submissions folder) by ceclia tyrell and timo carlier, traveling the globe from out studio with the aporee soundmaps, and ringing out the year with a framework introduction recorded in taiwan by vince hancock.
  • #781: 2021.12.12 [ben link collins]
    the last edition of framework:afield for 2021 has been produced in the united states by ben link collins. for more of his work see http://www.alabamafield.com/. producer's notes: There’s a lot that I could tell you about Big Bend, but I think for the sake of these recordings there are only two main bits of information you need to know. First, as I said, Big Bend is on the U.S. Mexico Boarder, where in years prior the pandemic tourists could cross the Rio Grande River into Mexico to spend a day in a small town called Boquillas.  Since the border closing between the United States and Mexico, which fortunately will be ending soon, Boquillas has been completely cut off from tourism, which makes for the vast majority of the towns income for it’s 250-300 residence.  However, everyday tourists wade through the usually shallow waters to set foot in Mexico, and residence of Boquillas cross the border to fish, move ranch animals, and to layout displays of trinkets, jewelry, and souvenirs for U.S. tourists in Big Bend to purchase by placing money in a jar or aluminum coffee can, purely relying on the honor system. The second thing you need to know is about the geological history of how Big Bend came to be.  The mixture of flat desert and abrupt extrusions of land into mountains and canyons is the result of something called the Western Interior Seaway, which was a body of water that bisected North America from the Gulf of Mexico to the Arctic Ocean up until around 60 million years ago.  Since then, rising tectonic plates and volcanic eruptions have raised the land above sea level. But the established land formations from volcanic eruptions, underwater sediment and ocean current, as well as fossils of the lives lived in the Seaway, are still in abundance and make up the surreal landscape.  In short, you are always aware that you are walking on an extinct ocean floor.