Landscape Quartet: Creative Practice and Philosophical Reflexion in Natural Environments

自60年代以来，艺术家们不仅将环境作为艺术的场所，而且将其作为艺术材料进行探索。理查德·朗、安迪·戈兹沃西等许多人在风景中进行干预，而“音景”作曲家（默里·谢弗、韦斯特坎普、特鲁克斯）则使用环境录音作为电声作曲的原材料。声学生态学从谢弗的“世界声景计划”（WSP）发展而来，产生了一些显著的创造性、哲学和政治成果。然而，许多声生态学依赖于保存（记录）的模式，这是一种在当代环境辩论中越来越不可信的生态策略。针对这一点，提出了一种参与性的方法来处理声音环境，表演者和观众在与探索的具体地点对话中产生声音，以符合当代环保主义思想中更具参与性和参与性的转变。这种方法试图塑造一种道德但参与性的环境艺术方法，这种方法超越了作为生态学模型的保存，走向与环境的互动和合作;参与而不是代表。目的和目标该项目旨在通过面对我们的（音乐）听觉实践，以及我们对音乐家在这种艺术创作中的作用的概念，以及听觉环境的现象学现实，来发展一种真正的“生态系统”方法。实践为基础的艺术家将从物理干预到环境，通过部署冥想的精神实践来探索特定地方的声音潜力;从数字技术的高度中介应用到不同环境中发现的声音的声学即兴创作;从通过在环境中的音乐上重要的动作来探测环境到用环境演奏乐器，可以这么说，面对作曲的挑战，例如，允许长笛被风吹，记录小提琴和吉他在河流和湖泊上漂浮的声音-由水和风的轻微混乱能量构成的明确的“音乐”声音。这些例子来自已经进行的实验，这些实验已经产生了成功的艺术和概念成果，并已公开展示。沿着将在英国和瑞典举办展览，并进行现场表演，项目期间举办的四场研讨会将把实践和知识成果带到公共论坛，《当代音乐评论》的专题特刊将发表这些研讨会的哲学成果，潜在的应用和好处该项目旨在提高人们对声学环境和生态环境的认识。更广泛的关注，不是以保护为模式，而是以参与为模式;简而言之，我们如何与环境共存并成为环境的一部分，而不是“在环境周围设置围栏”。该项目的实际方面将涉及制定演示策略，让观众深入了解工作过程，揭示我们与自然环境关系的假设，这也将导致教育应用。该项目旨在开发灵活的实践，并可能适应不同的环境。具体的地点和事件，无论是以单独创作的作品或事件的形式，还是作为不同合作伙伴之间的合作。该作品可以进行调整，以适应户外场地，画廊或音乐会空间，以及教育研讨会项目，使其在更广泛的文化中具有广泛的适用性。一个广泛的面向环境的艺术家和知识分子社区存在（例如WSP，CRiSAP），该项目将直接引起他们的兴趣。该社区将通过已经提到的展览和出版物以及项目网站的RSS提要进入

context Since the 60s artists have explored the environment as not only a place for art, but as artistic material. Richard Long, Andy Goldsworthy, among many others make interventional actions in the landscape, while "soundscape" composers (Murray Schafer, Westerkamp, Truax) have used environmental recordings as raw material for electroacoustic composition. Acoustic ecology has grown from Schafer's "World Soundscape Project" (WSP), producing some remarkable creative, philosophical, and political fruit. However, much acoustic ecology relies on the model of preservation (recording), an ecological strategy that has less and less credence in contemporary environmental debate. Against this is proposed a participative approach to the sonic environment, where performers and audience produce sounds in dialogue with the specific sites explored, in keeping with the more participative and engaged turn in contemporary environmentalist thinking. Such an approach seeks to model an ethical but participative approach to environmental sound art that moves beyond preservation, as a model of ecology, towards interaction and co-operation with the environment; participation rather than representation. aims and objectivesThe project seeks to develop a genuinely "ecosystemic" approach to environmental sound art by confronting our (musical) listening practices, and our notions of the role of musicians in the production of such art, with the phenomenological reality of the aural environment. Practice-based artists will work from physical intervention into environments through to the deployment of meditative spiritual practices to explore the sonic potential of particular places; from highly mediated applications of digital technologies to acoustic improvisations with the sounds found in different environments; from sounding an environment through musically significant actions within it through to playing instruments with the environment, so to speak - confronting the compositional challenge, for example, of allowing a flute to be played by the wind, recording the sounds of violins and guitars being floated on rivers and lakes - unmistakably "musical" sonorities structured by the gently chaotic energies of water and wind. These examples are from experiments already undertaken by that have produced successful artistic and conceptual results that have been presented publicly. Exhibitions in the UK and Sweden along with site-specific performances will result, four symposia held during the project will bring the practical and intellectual findings into a public forum, and a special themed issue of The Contemporary Music Review will publish the philosophical results of these symposia, alongside articles by invited respondents.potential applications and benefitsThe project seeks to raise awareness of the sonic environment and ecological concerns more widely, modelled not on preservation but participation; in simple terms how might we live with and be a responsible part of the environment rather than "put fences around it".The practical side of the project will involve developing strategies of presentation that give audiences insight into the process of the work, exposing assumptions about our relationship to the natural environment that will also lead to educational applications.The project seeks to develop practices that are flexible and may be adapted to different specific places and events, either in the form of single-authored works or events, or as collaborations between the different partners. The work can be adapted to fit with outdoor sites, gallery or concert spaces, and educational workshop projects, giving it a wide applicability in the broader culture.A broad community of environmentally-oriented artists and intellectuals exists (e.g. WSP, CRiSAP) to whom the project will be of direct interest. This community will be accessed through exhibitions and publications already noted, and via RSS feeds from a project website