Sounding the Anthropocene: Ecoacoustics, Connectivity and Sonic Emplacement

与声音创造、召唤和划分空间的能力不同，在声音实践中存在着一种辩证的移位力量。这可以从潜伏期和回声的体验，到长距离传输(如地震波)的发声，再到现场录音中隐含的谢费尔式的“精神分裂”的概念。作曲的行为--以留声法为补充--为更好地洞察和理解与其环境有关的声音现象创造了机会。这个项目将探索空间构图和声音地理学，观察空间如何表现声音，以及音乐如何以独特的方式创造和塑造空间。作曲是探索声音与空间同时定位与错位关系的理想媒介。我调查：声音在创造流动的、相关的、不同的表演空间中起什么作用？我们如何通过作曲的镜头研究声学生态，更广泛地说，主要为艺术目的开发的技术如何作为研究询问的方法？如何通过现场录音和发声等录音实践探索声波制图和错位之间的紧张关系，特别是当与现场特定的表演结合使用时？最后，它是什么组成的？声音和空间的交叉点在音乐学中已经得到了很好的研究，这些领域包括声生态学(Gallagher，2016；Allen和Dawe，2016)和音景研究(Schafer，1977)--自然声环境(Cameron和Rogalsky，2006)和人工(Pinch和Bijsterveld，2012)--声音行走(Butler，2006)、声音映射(Cohen，2012；Llano，2018；Thomas，2010)、声音作为地图学(Besser and Salter，2006)、场所的声音录音(Gallagher，2014)、空间的易变性(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，但关于声音创造空间的创造过程的研究相对较少。我的研究方法以我作为作曲家的实践为中心。研究将把写作和实践结合起来，将声景、声学制图和听觉空间意识的声学研究文献与我自己的声学作品的反思和分析结合起来。这将涉及到从笛卡尔地理学到空间、流动的认识论的理论史的讨论：一个社会产生的空间，以及一个固有的空间。为了做到这一点，我感兴趣的是探索舍费尔式的“精神分裂”的双重品质，以及在录音和现场特定表演(建立在Schrimshaw的基础上)中召唤的隐含的保真度。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--这是一个在当今互联互通、混合和网络社交时代特别相关的研究领域(AMIN 2012)。鉴于社会、空间和声波是共同构成的(Kanngieser，2012)，我的声波研究本质上将对声音的空间政治产生重大共鸣。我将通过将音速技术视为福柯主义的一种表现形式，利用勒菲布里亚的分析，并以阿塔利(1977)、雷维尔(2000)、史密斯(2000)和伍德(2007)的工作为基础，承认这一点。在理论基础工作之后，我将创作这些想法的声学表现：声音表演、特定地点的音频装置、表演性讲座和音景构图。作为一名作曲家，我使用的艺术技巧和程序将得到冲动反应、双音同声、娱乐声学、民族志研究(反映空间是什么)以及我作为表演者自己的调查实践的称赞。

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.