Sublime frequencies: The construction of sublime listening experiences in the sonification of scientific data
Sublime frequencies: The construction of sublime listening experiences in the sonification of scientific data
复制标题
崇高频率：科学数据超声处理中崇高聆听体验的构建
作者：
A. Supper
在过去的二十年里，科学数据的声音化——将数据转化为声音的数据可视化的听觉等效物——已经变得越来越普遍，特别是作为一种艺术实践和普及科学的手段。因此，在公众对科学文献的理解中讨论的声音化是最近趋势的一部分，即越来越强调科学与艺术之间的“互动性”和“交叉”，作为对科学与公众之间关系中感知到的危机的回应。然而，声化也可以被理解为将自然、科学和人类经验之间的关系理论化的悠久传统的最新迭代。本文分析了最近公众对声音的迷恋，并认为声音通过承诺崇高的体验抓住了公众的想象力。我展示了“听觉的崇高”是如何通过技术、音乐和修辞策略的不同组合来构建的。而不是保持一个单一的概念的听觉崇高，从业者借鉴了许多科学和艺术的曲目。然而，声音通常被定位为一种沉浸式的情感媒介，而不是被认为更超然的视觉。公众对声音的讨论完整地保留了这种二分法，强化了声音在专业科学中没有地位的观点。
In the past two decades, the sonification of scientific data – an auditory equivalent of data visualization in which data are turned into sounds – has become increasingly widespread, particularly as an artistic practice and as a means of popularizing science. Sonification is thus part of the recent trend, discussed in public understanding of science literature, towards increased emphasis on ‘interactivity’ and ‘crossovers’ between science and art as a response to the perceived crisis in the relationship between the sciences and their publics. However, sonification can also be understood as the latest iteration in a long tradition of theorizing the relations between nature, science and human experience. This article analyses the recent public fascination with sonification and argues that sonification grips public imaginations through the promise of sublime experiences. I show how the ‘auditory sublime’ is constructed through varying combinations of technological, musical and rhetorical strategies. Rather than maintain a singular conception of the auditory sublime, practitioners draw on many scientific and artistic repertoires. However, sound is often situated as an immersive and emotional medium in contrast to the supposedly more detached sense of vision. The public sonification discourse leaves intact this dichotomy, reinforcing the idea that sound has no place in specialist science.