Sounding the Anthropocene: Ecoacoustics, Connectivity and Sonic Emplacement

探寻人类世：生态声学、连通性和声波安置

• 批准号: 2778458
• 金额: --
• 依托单位: Queen's University Belfast
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2778458
• 关键词: Sounding; Anthropocene; Ecoacoustics; Connectivity; Sonic

Distinct from the ability of sound to create, invoke, and demarcate space, there exists a dialectical force of displacement within sonic practices. This can range from the experience of latency and echo, to sonification of long distance transmissions such as seismic waves, to the notion of Schaferian 'schizophonia' implicated within field recordings. The act of composition - complimented by phonographic methods - creates opportunities for greater insight and understanding of sonic phenomena in relation to their environment. This project will explore spatial composition and sonic geography, looking at how spaces manifest sound, and how music creates and shapes space in distinctive ways. Composition is an ideal medium to explore the simultaneously locating and dislocating relationship of sound and space. I investigate: what is the role of sound in creating a fluid, relational, divergent performative space?; how can we study acoustic ecologies through the lens of composition, and more broadly, how can techniques primarily developed for artistic ends serve as methods of research enquiry?; how can the tension between sonic cartography and dislocation be explored through phonographic practices such as field recordings and sonification, especially when used in conjunction with site-specific performance?; finally, what is it to compose 'in situ'? Intersections of sound and space have been well trodden in musicology, through areas of acoustic ecology (Gallagher, 2016; Allen and Dawe, 2016) and soundscape studies (Schafer, 1977) - natural sonic environments (Cameron and Rogalsky, 2006) and artificial (Pinch and Bijsterveld, 2012) - sound walking (Butler, 2006), sound mapping (Cohen, 2012; Llano, 2018; Thomas, 2010), sound as cartography (Blesser and Salter, 2006), acoustic recordings of place (Gallagher, 2014), mutability of space in field recording practices (Schrimshaw, 2012), and 'acoustic politics of space' (LaBelle, 2010). While these aspects of sound and space have opened up pertinent new perspectives, there has been comparatively little research on the creative processes by which sound makes space. My research method centres around my practice as a composer. Research will combine writing with praxis, consolidating sound studies literature on soundscapes, sonic cartography, and auditory spatial awareness with reflections and analysis of my own sonic works. This would involve discussing the theoretical shih from Cartesian geography to a spatial, fluid epistemology: a space that is socially produced, and a sonic that is inherently spatial. To do this, I am interested in exploring the dual qualities of Schaferian 'schizophonia' and the implied fidelity of evocation in sound recording and site-specific performance (building on Schrimshaw). I will develop this by exploring the relationship between sound, technology, and the spatial organisation of social life - an area of research particularly relevant in today's age of interconnectivity, hybridity, and networked sociality (Amin 2012). Given the social, spatial, and sonic are co-constitutive (Kanngieser, 2012), by nature my sonic investigations will have significant resonances for the spatial politics of sound. I will acknowledge this through considering sonic technology as a Foucauldian dispotif, utilising a Lefebvrian analysis, and building on work by Attali (1977), Revill (2000), Smith (2000), and Wood (2007). After theoretical groundwork, I will create acoustic manifestations of these ideas: sonic performances, site-specific audio installations, performative lectures, and soundscape compositions. Artistic techniques and procedures I use as a composer will be complimented by impulse responses, ambisonics, recreation acoustics, ethnographic research (reflecting what it is to be in a space), and my own investigative practice as a performer.

与声音创造、唤起和划分空间的能力不同，在声音实践中存在着一种辩证的位移力。这可以从延迟和回声的经验，到长距离传输（如地震波）的声音化，再到现场记录中涉及的Schaferian“发音”概念。作曲的行为-与留声机的方法互补-创造了更好的洞察力和理解与环境有关的声音现象的机会。这个项目将探索空间构成和声音地理学，研究空间如何表现声音，以及音乐如何以独特的方式创造和塑造空间。作曲是探索声音和空间同时定位和错位关系的理想媒介。我调查：声音在创造一个流动的、相关的、发散的表演空间中的作用是什么？我们如何通过作曲的透镜来研究声学生态，更广泛地说，主要为艺术目的而发展的技术如何作为研究探索的方法？如何通过现场录音和声音化等留声机实践来探索声音制图和错位之间的紧张关系，特别是在与特定场地表演结合使用时？;最后，什么是"就地创作“？声音和空间的交叉点在音乐学中已经被很好地研究过了，通过声学生态学领域（Gallagher，2016;艾伦和Dawe，2016）和声景研究（Schafer，1977）-自然声波环境（卡梅隆和Rogalsky，2006年）和人工（Pinch和Bijsterveld，2012年）-声音行走（巴特勒，2006年），声音映射（Cohen，2012;拉诺，2018;托马斯，2010年），声音作为制图（Blesser和Salter，2006年），地点的声学记录（Gallagher，2014），现场录音实践中的空间可变性（Schrimshaw，2012）和“空间的声学政治”（LaBelle，2010）。虽然声音和空间的这些方面开辟了相关的新视角，但对声音创造空间的创造过程的研究相对较少。我的研究方法围绕着我作为作曲家的实践。研究将结合联合收割机写作与实践，巩固声音研究文献的音景，声音制图，和听觉空间意识与反思和分析我自己的声音作品。这将涉及到从笛卡尔地理学到空间的、流动的认识论来讨论理论上的“时”：一个社会产生的空间，一个固有空间性的声音。为了做到这一点，我有兴趣探索Schaferian的“发音”的双重品质，以及在录音和现场特定性能（建立在Schrimshaw）中唤起的隐含保真度。我将通过探索声音，技术和社会生活的空间组织之间的关系来发展这一点-这是一个与当今互联，混合和网络社会性时代特别相关的研究领域（Amin 2012）。鉴于社会，空间和声音是共同构成的（Kanngieser，2012），从本质上讲，我的声音调查将对声音的空间政治产生重大的共鸣。我将通过将声波技术视为福柯的处置，利用勒菲布夫的分析，并在Attali（1977），Revill（2000），Smith（2000）和Wood（2007）的工作基础上认识到这一点。在理论基础之后，我将创造这些想法的声学表现形式：声音表演，特定场地的音频装置，表演性讲座和音景作品。我作为一个作曲家使用的艺术技巧和程序将得到脉冲响应、立体混响、娱乐声学、人种学研究（反映空间中的情况）以及我自己作为一个表演者的调查实践的补充。