Cloddfa (Quarry) generating liminal experience of place through the use of sound-led recording and editing techniques in audio/visual installation

该项目是一个由AHRC创意和表演艺术研究员露丝·琼斯博士在西英格兰大学和声音研究员/电影制片人安德烈威廉姆斯在威尔士大学，研究所，卡迪夫的合作实践为主导的研究项目。琼斯的研究强调了地方和身份的多层次性，并专注于通过电影装置和公共艺术实践吸引观众进入与记忆和身份有关的地方的中间或边缘性质的体验，而威廉姆斯则专注于探索声音主导的电影，其中电影和装置中图像对声音的主导地位受到质疑。这两个从业者之间的合作提供了一个机会，把这两个关注点结合起来，探讨如何在视听装置环境中使用声音引导的电影技术，以提高观众对阈场所的认识和有意义的体验。为了解决场所与声音/视觉之间的关系，研究将集中在两个特定的场所，废弃的Porthgain花岗岩采石场和Abereiddy板岩采石场位于西威尔士彭布罗克郡的同一地点，相距不到半英里。这些遗址可以被视为临界点，位于其历史上的工业用途之间，其痕迹仍然存在，目前用作休闲和/或好奇心的场所。此外，他们的物理和声学相似的户外礼堂本身有助于探索其潜力的声音主导的电影。与摄影师菲尔科万，琼斯和威廉姆斯将研究的背景下，并开发一个视听装置，唤起观众的历史，文化，地理，纪念，听觉和空间共鸣，不能包含在一个经典的线性叙事这些景观的同时注入。正是通过对所有这些场所特质的多层次交叉空间的再现，一种阈体验才能发生，并能对观众产生有意义的影响。借鉴威廉姆斯对渲染声学景观的研究和琼斯以场所为导向的视觉艺术实践，研究人员将尝试使用“环绕”，声音“技术与超声音系统的亲密性同时使用，超声音系统可以将声音输出作为目标，使得观众被引导到安装空间内的”局部化“声音。其目的是探索如何呈现“声音主导”的经验可以在音频/视频安装环境中发挥作用。在视听装置中，声音和图像之间假定的“自然和谐”并不一定会为观众产生有意义的场所体验。研究人员提出，在景观的表现中，渲染的声景可以为观众提供一种更“真实”的多维空间体验。唤起有意义和阈经验的地方的策略包括：1。声音特写/声音投射为画廊较大空间内的局部声音空间，当身体移动到定义的空间时会体验到，给观众一种身体（身体）和独特的个人声音体验。2.声音和图像的非同步性-声音的听觉效果，其来源在视觉上被否认。例如，观众听到并体验到狗在他们身后吠叫的声音，但他们在投影的图像中看不到声音的来源。

This project is a collaborative practice-led research project by AHRC Creative and Performing Arts Fellow Dr Ruth Jones based at The University of West England and sound researcher/filmmaker Andrea Williams based at The University of Wales, Institute, Cardiff. Jones's research has emphasised the multi-layered nature of place and identity and has focused on drawing audiences into an experience of the in-between or liminal nature of place in relation to memory and identity through film installation and public art practice, while Williams has focused on exploring sound-led film, in which the assumed dominance of image over sound in film and installation is called into question. The collaboration between these two practitioners provides an opportunity to bring together these two concerns to ask how sound-led film techniques could be employed in an audio-visual installation environment to generate a heightened awareness and meaningful experience of liminal places for viewers.In order to address the relationships between place and sound/vision, the research will focus on two particular places, the disused Porthgain granite quarry and Abereiddy slate quarry situated within half a mile of each other in the same locale in Pembrokeshire, West Wales. These sites could be considered as liminal places, located between their historical industrial use, of which traces remain and their present use as sites of leisure, and/or curiosity. In addition their physical and acoustic resemblance to outdoor auditoriums lends itself to exploring their potential for sound-led film. Working with cinematographer Phil Cowan, Jones and Williams will research the context for, and develop an audio-visual installation that evokes for viewers the simultaneous infusion in these landscapes of historical, cultural, geographical, memorial, aural and spatial resonances that cannot be encompassed in a classic linear narrative. It is through the representation of the multi-layered intersecting space of all these qualities of place that a liminal experience can occur and can have meaningful impacts for audiences.Drawing on Williams's research into rendered acoustic landscapes and Jones's place-orientated visual art practice, the researchers will experiment with applying 'surround-sound' techniques simultaneously with the intimacy of hyper sound systems that can target sound outputs so that a viewer is led towards 'localised' sounds within the installation space. The aim is to explore how a rendered 'sound-led' experience could function in an audio/visual installation environment. An assumed 'natural harmony' between sound and image does not necessarily generate a meaningful experience of place for the viewer in audio/visual installation. The researchers propose that in representation of landscape, a rendered soundscape can provide an experience for audiences that is more 'true' to the multidimensionality of place. Strategies to evoke a meaningful and liminal experience of the places include:1. Acoustic close-up's /voices projected as a localised sound space within the larger space of the gallery that is experienced when a body moves into the defined space, giving the viewer a somatic (bodily) and uniquely individual experience of sound in relation to place.2. Asynchronicity of sound and image - the acousmatic effect of sound whose source in vision is denied. For example, the viewer hears and experiences the sound of a dog barking at their heels, but they cannot see the source of the sound in the image projected.