Perspectives from Practice
Perspectives from Practice
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实践视角
DOI：
10.1080/07494467.2016.1140472
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发表时间：
2016
影响因子：
0.4
通讯作者：
Hogg B
中科院分区：
文献类型：
--
作者：
Hogg B
在过去的半个世纪里，景观已经成为生态学和艺术史等不同领域的研究主题。从几个学科的背景来看，它作为文化工作场所的重要性(麦克法兰，2012；沙尔马，1995；斯蒂芬斯，2000；蒂利，1994)，人类与更广泛的生活世界的关系的指示器(普卢姆伍德，2002；斯皮尔恩，1998)，一系列具有意识形态和批判性的美学观点(科斯格罗夫，1985；勒菲布夫，2010/1974；莫顿，2007)，以及人类生活发生的地方(巴舍拉德，1994/1958；博洛诺，2011；海德格尔，1977/1954)已经逐渐被广泛的跨学科学者所发现。20世纪60年代末，温哥华音景社区借用“景观理念”创造了“音景”一词，这一术语近年来受到越来越多的批评(霍格，2013年；英戈尔德，2000,2007年；迈克尔，2011年)。新兴的声音研究领域(Birdsall&Enns，2011；Besser&Salter，2006；LaBelle，2010；Picker，2003；Sterne，2012)对许多原始的“声音景观”假设给予了更多批判性的目光，尤其是在很大程度上，人们不加批判地假设景观中的声音的分类估值比实际人类经验的多样性--简而言之，自然=好；城市=坏--具有更广泛的有效性。正是在这种多元化和跨学科的背景下，AHRC资助的研究项目“风景四重奏”于2011-2012年被制定出来，旨在通过基于实践的研究以及哲学思考和反思，询问声音艺术家和音乐家试图在风景中创作新的音乐和声音艺术时引发的一些问题。景观四重奏方法的关键是参与并声称自己存在于‘风景’中，而不是与一些更明确或隐含的审美化和客观化的‘笔直’实地记录的概念。相关的方法也已经开发出来，其中包括美国的EcoSono乐队(见Burtner，2011)，音响师达拉斯·辛普森、约翰·格里津尼奇和李·帕特森，以及加的夫的环境即兴演奏者‘Team Sports’(http://www.太无聊了。Org/ARCHIES/3498)。在景观四重奏的研究阶段，组织了一系列研讨会，在会上介绍了正在进行的工作，公众和‘专家’听众出席了会议。在这些座谈会之后，为本期《当代音乐评论》策划了一组书面论文，作者是迈克尔·凯瑟琳·诺曼
Over the past half century landscape has emerged as a topic of study in fields as diverse as ecology and art history. From a place (literally) in the background of several academic disciplines, its importance as a site of cultural work (Macfarlane, 2012; Scharma, 1995; Stephens, 2000; Tilley, 1994), an indicator of human relations with the broader life world (Plumwood, 2002; Spirn, 1998), a series of ideologically and critically loaded aesthetic viewpoints (Cosgrove, 1985; Lefebvre, 2010/1974; Morton, 2007), and the place in which human life occurs (Bachelard, 1994/1958; Bollnow, 2011; Heidegger, 1977/1954) has been gradually uncovered by a broad and interdisciplinary assortment of scholars. The appropriation of ‘the landscape idea’by the Vancouver Soundscape community in the late 1960s coined the term ‘soundscape’, a term which has come under increased critique in recent years (Hogg, 2013; Ingold, 2000, 2007; Michael, 2011). The emergent field of sound studies (Birdsall & Enns, 2011; Blesser & Salter, 2006; LaBelle, 2010; Picker, 2003; Sterne, 2012) has cast a more critical eye on many of the original ‘soundscape’assumptions, not least the extent to which categorical valuations of sound in the landscape had been assumed, uncritically, to carry a more general validity than the diversity of actual human experiences—in a nutshell, the notion that Nature= good; Urban= bad. It is against this diverse and cross-disciplinary background that the AHRC-funded research project ‘Landscape Quartet’was formulated in 2011–2012 as a means to interrogate, through practice-based research and philosophical speculation and reflection, some of the issues invoked when sound artists and musicians attempt to make new music and sound art in the landscape. Key to the Landscape Quartet approach has been the idea of participating with and claiming a presence in the ‘landscape’, rather than with some of the more explicitly or implicitly aestheticising and objectifying notions of ‘straight’field recording. Related approaches have also been developed by, among others, the US-based group ‘EcoSono’(see Burtner, 2011), sound artists Dallas Simpson, John Grzinich, and Lee Patterson, and Cardiff’s environmental improvisers ‘Team Sports’(http://www. bangthebore. org/archives/3498). During the research phase of Landscape Quartet a series of symposia were organised at which ongoing work was presented with public and ‘expert’listeners in attendance. Following on from these symposia and for this special edition of Contemporary Music Review a set of written papers has been curated from Katharine Norman, Michael