The exploitation of ‘tangible ghosts’: conjectures on soundscape recording and its reappropriation in sound art
The exploitation of ‘tangible ghosts’: conjectures on soundscape recording and its reappropriation in sound art
复制标题
对“有形鬼魂”的利用：对音景录音的猜想及其在声音艺术中的重新运用
作者：
John Levack Drever
仿佛（惊恐的）摄影师必须尽最大努力使照片不变成死亡。而我，已经是一个对象，我不去战斗。（巴特，1988:14）也许这是玩弄现实的终极方式。（鲍德里亚，1997:38）每一天，想要在非常近的距离上，通过它的相似性、它的复制品来抓住一个物体的冲动越来越强烈。（Benjamin 1992: 217）本文源于我作为一名电声作曲家/声音艺术家和消费者的经历，我热情地参与音景录音的采购、使用和交换：一种矛盾的参与，在美学上是有益的，但在进一步的反思中却深感不安。本文的目的是质疑和探讨为什么这种表面上良性和日益普遍的程序（即声景录制/采样/抽象，编辑，修饰，转换，混音，重新语境化……）可能会导致伴随道德妥协的“恐怖”持久对抗。为了表达个人和直觉的回应，我将参考关于摄影的批判性著作来阐明声音（即利用照片作为声音记录的对应物）。我将特别关注电声音乐中人类话语的录音和再利用，因为它可能是人类最亲密，也最熟悉的声音材料。你无法逃避自己的声音。“音景”表示“任何声学研究领域”（Schafer 1994: 7）；然而，在这种情况下，我希望把重点放在具有特殊社会或文化意义的声场上。拍照就是占有被拍照的东西。（Sontag 1984: 4）因此，当它被用于声音艺术时，它又被挪用了。
As if the (terrified) Photographer must exert himself to the utmost to keep the Photograph from becoming Death. But I, already an object, I do not fight. (Barthes 1988: 14) Perhaps this is the ultimate way of playing with reality. (Baudrillard 1997: 38) Every day the urge grows stronger to get hold of an object at very close range by way of its likeness, its reproduction. (Benjamin 1992: 217) This paper is born out of my experience as an electroacoustic composer/sound artist and consumer, who passionately engages in the procurance, employment and exchange of soundscape recordings: an ambivalent engagement which is aesthetically rewarding, yet on further reflection deeply unsettling. The aim of this paper is to question and explore why this ostensibly benign and increasingly common procedure (i.e. the routine of soundscape recording/sampling/abstracting, editing, retouching, transforming, mixing, recontextualising . . . ) may result in a durable confrontation with ‘terror’ accompanied by ethical compromise. To articulate a personal and intuitive response, I will refer to critical writings on photography to illuminate sound (i.e. utilising the photograph as a counterpoint to the sonic record). I will be focusing in particular on the recording and the reappropriation of human utterance in electro-acoustic music, as it is probably the most intimate, as well as familiar, sonic material to humans. You cannot escape from your own voice. ‘Soundscape’ denotes ‘any acoustic field of study’ (Schafer 1994: 7); however, in this context I wish to focus on acoustic fields which have a particular social or cultural significance. ‘To photograph is to appropriate the thing photographed.’ (Sontag 1984: 4) Thus it is appropriated again when employed in sound art.