From Perception research to the aesthetics of experience: construction of auditive space by means of music and its technology

听觉空间有许多方面，在大多数情况下，它的呈现与听者的个人位置有关。自20世纪20年代初以来，它就可以通过技术手段进行生产和设计。直到模拟时代的结束(Aprox.20世纪80年代中期)，许多不同的电声设备、制作和模拟技术被开发出来，供作曲家和音频艺术家使用。它们在空间音频作品中的应用定位于作品的空间概念，而空间概念又由技术决定。总而言之，存在着大量不同的听觉空间呈现和空间结构，它们也以不同的方式考虑了个别听众的观点。该研究项目的目的是探索用电声手段产生的听觉空间结构的历史，对它们进行分类，并追踪这一发展的美学后果。因此，将根据乐谱、素描、访谈、录音和录像等，从艺术空间概念、听觉空间的展示、特殊技术设备和生产模式的使用等方面对一些模拟电声空间作品和音频作品进行分析。选择要分析的作品时，考虑到研究项目第一阶段记录的空间设备和生产模式的使用，商业设备的使用，不同听众的视角和产生的时间。在最后一步中，将考虑所选作品与体验和知觉美学的关系。

Auditive space has many facets and in most cases its presentation is linked to the individual position of a listener. Since the early 1920ies it can be produced and designed by technical means. Until the end o the analogue era (aprox. mid 1980ies) many different electroacoustic devices, production and simulation techniques were developed for the use of composers and audio artists. Their use in spatial audio works is orientated on the works spatial concept witch is determined by the technology at the same time. All in all, a huge number of different auditive space presentations and spatial constructions exist and in different ways, too, they take the individual listeners views into consideration. The aim of the research project is to explore the history of auditive spatial constructions produced with electroacoustic means, to classify them and to trace the aesthetic consequences of this development. Therefore, a number of analogue electroacoustic spatial compositions and audio works will be analyzed in regards to the artistic spatial concept, the display of the auditive space and the use of special technical devices and production modes on basis of scores, sketches, interviews, sound and video recordings etc. The selection of the works to be analysed considers the use of spatial devices and production modes documented in the first phase of the research project, the use of commercial devices, the different listeners perspectives and the time of their origin. In a last step, the relation of the selected works to the aesthetics of experience and perception will be regarded.