Forestial Voices: a Compositional Sound Study Comparing the Voices of Birmingham Institute of Forest Research Second Generation Forest and the Ruskin

森林之声：比较伯明翰森林研究所第二代森林和拉斯金的声音的作曲声音研究

• 批准号: 2875658
• 金额: --
• 依托单位: University of Birmingham
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2875658
• 关键词: Forestial; Voices; Compositional; Sound; Study

Working with Birmingham ElectroAcoustic Sound Theatre (BEAST), contrasting forests, Birmingham Institute of Forest Research (BiFOR): second-generation research forest, and Ruskin Land: a natural woodland, I will form an in-depth sonic investigation of forests ecosystems, creating multiplecompositions including improvised performances with BEAST using recorded micro-sounds and ambisonic recordings of forest movements.Forests are part of a collective of sound for organic beings and animals called biophony (Krause 2015). Tree systems have a complex network of sounds needing a separate study to define their impact on our soundscape. Tree movements resonate into the wider soundscape, simultaneously sounds underground and within organic beings (Sheldrake, 2020) add to the collective voice that tell the life of a forest (Tsing, 2015). I will use BiFOR data that measures growth and movement inside trees and comparable data taken at Ruskin Land to map areas of the forests and to create performance scores.Comparing two forests through the medium of sound and artistic response, I am to deepen our understanding of the forestial choir (the collective voice of a forest) adding to our understanding of our place in the living world (Haraway, 1985) and challenging what it means to listen (Westerkamp, 2019) to a forest.Questions1. How can listening to the forest help reframe our understanding of it?2. Do the forests have differences in their voices?3. How can artistic response provide a pathway to understanding forests?4. Will comparing previous research on houseplants reveal similar sensitivity levels?ContextThis research project sits within a multidisciplinary field built around Krause's underlying connection between sound and environment, deep ecology (Næss, 1987) acoustic ecology (Westerkamp, 2002) and deep listening explored through the World Soundscape Project (Schafer, 1968). It encompasses sonic arts, immersive sound, and soundscape studies (Dangles, 2018) combined with plant voltage sonification as organic electronic music (Mileece, 2003) and writing music for plants (Garson 1976). It expands on BEAST's current research with a secondary research field in Geography and Environment.MethodologyThe research questions will be answered through a practice as research methodology.1. Contact microphones recording tree movement and growth on different parts of trees2. Durational recording in different seasons and times of day to compare tree movement3. Forest listening to understand what to record, map sections of the forest and design performance scores4. Use BEAST to map the voices of the forests to recreate the ecosystem and for improvised performances.Impacts1. Better understanding of the forest sonic ecosystem.2. Selected compositions will contribute to an installation using BEAST. Combining existing Welsh-based networks to exhibit at public galleries across Cardiff and Birmingham, offering a hyperreal experience impacting public knowledge of forest ecosystems.3. Academic contribution to soundscape research4. Creating music and experiences will provide a new way of interpreting data without the use of sonificationBy bringing BiFOR and Ruskin Land research into the artistic realm, my contribution to the arts and humanities will impact how we think about forests and our relationship with living organisms.

与伯明翰电声剧院(BEAST)、对比森林、伯明翰森林研究所(BiFOR)：第二代研究森林和拉斯金土地：天然林地合作，我将形成一个对森林生态系统的深入声波调查，创建多个合成，包括使用录制的微声和森林运动的两性录音与野兽的即兴表演。森林是有机生物和动物声音集体的一部分，称为生物声音(Krause 2015)。树木系统有一个复杂的声音网络，需要一个单独的研究来确定它们对我们的音景的影响。树木的运动在更广泛的音景中产生共鸣，同时在地下和有机生物内部发出声音(Sheldrake，2020)，增加了讲述森林生活的集体声音(Ting，2015)。我将使用测量树木内部生长和运动的BiFOR数据和在拉斯金土地获得的可比数据来绘制森林区域的地图，并创建性能分数。通过声音和艺术反应的媒介比较两个森林，我将加深我们对前缘合唱团(森林的集体声音)的理解，增加我们对我们在生活世界中的位置的理解(Haraway，1985)，并挑战听森林意味着什么(Westkamp，2019)。倾听森林的声音如何帮助我们重新理解森林？2.森林的声音有差异吗？3.艺术反应如何提供一条了解森林的途径？4.比较以前对室内植物的研究是否会显示出相似的敏感性水平？上下文本研究项目位于一个多学科领域，围绕克劳斯的声音与环境之间的潜在联系、深层生态学(Næss，1987)、声学生态学(Westkamp，2002)和通过世界声音景观项目(Schafer，1968)探索的深度倾听。它包括音响艺术、身临其境的声音和音景研究(Dangles，2018)，结合植物电压发声作为有机电子音乐(Mileess，2003)和为植物创作音乐(Garson 1976)。它扩展了Beast目前的研究，增加了地理学和环境的次要研究领域。方法研究问题将通过实践作为研究方法来回答。接触式麦克风记录树木在树木不同部位的移动和生长2。持续记录不同季节和一天中的不同时间段的树木运动情况。倾听森林，了解要记录的内容，绘制森林的各个部分，并设计绩效评分4。使用Beast来映射森林的声音，以重建生态系统并进行即兴表演。更好地了解森林声波生态系统。选定的作品将有助于使用Beast进行安装。结合现有的威尔士网络，在加的夫和伯明翰的公共画廊展出，提供超现实的体验，影响公众对森林生态系统的了解。对声景研究的学术贡献4。创作音乐和体验将提供一种新的方式来解释数据，而不需要使用发声。通过将BiFOR和Ruskin Land的研究带入艺术领域，我对艺术和人文的贡献将影响我们如何看待森林以及我们与生物的关系。