Search

En el presente trabajo se exploran, desde una perspectiva semiótica, distintos aspectos constitutivos del campo del field recording, particularmente en un ámbito circunscripto del mismo en el que las grabaciones de campo funcionan como prácticas artísticas en sí mismas. En esta dirección, se pondrá foco en la dimensión significante de las producciones discursivas inscriptas dentro de dicho dominio, indagando acerca de sus particulares modalidades de funcionamiento y de sus cualidades en tanto fenómenos mediáticos que promueven singulares procesos de mediatización sonora. A tales efectos, se partirá de una problematización en torno a la noción de objeto sonoro, indagando acerca de su estatuto y tensionando dicha noción en el marco de distintas prácticas inscriptas dentro del campo del field recording. Ulteriormente, se profundizará en una de las concepciones dominantes que orienta gran parte de las producciones sonoras dentro del dominio del field recording: la correspondiente al sonido en-sí-mismo. Se discutirá dicha concepción a partir de dos referentes del campo y del modo en que sus preceptos estéticos se materializan en su producción sonora. A partir de la caracterización y comprensión de dicha concepción, en su particular relación con los objetos sonoros, confrontaremos con otras orientaciones dentro del campo que proponen trayectorias semióticas que van más allá de la inmanencia del sonido en-sí-mismo, tensionando con diversas capas significantes que se articulan con aspectos específicos del contexto social, histórico, ecológico o cultural del lugar en el que se generan las grabaciones de campo. Finalmente, esto nos habilitará a considerar, más cabalmente, la complejidad de los procesos de producción de sentido en ambas vertientes y el modo en que operan los procesos de circulación discursiva en el contexto de las field recordings en la contemporaneidad. Universidad Nacional de Rosario (UNR) Universidad Nacional de las Artes (UNA)

In a leading article by Sir Percival Philips in the UK popular newspaper, the Daily Mail, July 16, 1928, came the following headlines: “Millions Lost by Noise – Cities’ Worst Plague – Menace to Nerves and Health – What is Being Done to Stop it”. The article was supported by research from Prof Henry J. Spooner, who had been researching and campaigning on the ill-effects of noise and its economic impact. The article sparked subsequent discussion and follow-up articles in the Daily Mail and its international partners. In an era of rapid technological change, that was on the cusp of implementing sound pressure measurements, the Daily Mail, in collaboration with the Columbia Graphophone Company Ltd, experimented with sound recording technology and commentary in the field to help communicate perceived loudness and identify the sources of “unnecessary noise”. This resulted in the making of series of environmental sound recordings from five locations across central London during September 1928, the findings of which were documented and discussed in the Daily Mail at the time, and two recordings commercially released by Columbia on shellac gramophone disc. This was probably the first concerted anti-noise campaign of this type and scale, requiring huge technological efforts. The regulatory bodies and politicians of the time reviewed and improved the policies around urban noise shortly after the presentation of the recordings, which were also broadcast from the BBC both nationally and internationally, and many members of the public congratulated and thanked the Daily Mail for such an initiative. Despite its unpreceded scale and impact, and the recent scholarly attention on the history of anti-noise campaigning, this paper charts and contextualises the Daily Mail’s London Street Noise campaign for the first time. As well as historical research, this data has also been used to start a longitudinal comparative study still underway, returning to make field recordings on the site on the 80th and 90th anniversaries and during the COVID-19 lockdown, and shared on the website londonstreetnoises.co.uk.

This audio-essay explores the relationship between soundscape recordings and property. Three field recordings of the author’s family fruit farm examine the emplacement and territorialization of sound but also the means by which certain signals might dislocate the discourses of ownership; stereo recordings of the acreage have been displaced by a more connective topology, courtesy of the beehives. The accompanying essay deploys an auto-ethnographic approach to reflect upon how sound recording practice can negotiate foundational ideologies within late capitalist culture.

Um Interdisziplinarität für Innovation zu nutzen, müssen Hürden überwunden werden, auch in der Kunst. „Ein Tag im Leechwald. Klang zwischen Soundscape & Abstraktion“ beschreibt ein Klangstück, das sonst getrennte Ansätze miteinander verbindet: Konkrete Musik & Soundscape-Komposition. Dem zugrunde liegt die These, dass es mit gezielten Recording- und Editing-Verfahren sowie einer modularen Arbeitsweise möglich ist, aus Klangaufnahmen ein kohärentes Klangstück zu gestalten, das ästhetische Konzepte, die der Soundscape-Komposition nahestehen, mit solchen, die dem Bereich der Konkreten Musik entspringen, miteinander verbindet. Hierbei ist die Frage nach Schnittstellen zwischen Konkreter Musik, Soundscape-Komposition und modularer Synthese zentral. Theoretisch ist das größte Problem einer Synthese der unterschiedliche Stellenwert des Aufnahmeorts in beiden Stilen. Praktisch ließ sich dies nicht rein klanglich, sondern nur mit zusätzlichen strukturellen Mitteln lösen. To use interdisciplinarity for innovation hurdles must be taken, in science like in arts. „Ein Tag im Leechwald. Klang zwischen Soundscape & Abstraktion“ describes a sound piece which combines traditionally sharply separated styles: concrete music & soundscape composition. The underlying hypothesis states that by means of specific recording and editing procedures as well as a modular way of working, it is possible to use sound recordings, so that one can combine the aesthetics of both styles in one coherent piece. Therefore, the central question to be answered is about intersections between concrete music, soundscape composition and modular synthesis. This thesis shows that theoretically the critical problem preventing such a synthesis is a difference in the importance of the original place of recording. Practically this could not be overcome by means of sound alone, but only with the help of additional strategies concerning the structure of the piece. Felix Wagner Masterarbeit FH JOANNEUM 2022

This paper proposes a research on the practice of field recording, in the consideration of a relation between environments, capturing subjects, listening subjects, and technology. With the reading of Gilbert Simondon, Bernard Stiegler, Augustin Berque and Ludovic Duhem, I question the possibility of a positive approach to the technological question and to locality, through the notions of transindividuation and translocality (or schizotopia). After having situated the problems of technology and locality in their political contexts, the explanation of the prosthetic dimension of the audio technique will first aim to underline its relationship to the environment, in order to define an acoustic locality and to explore the conditions of the individuation of the field recordists. The use of networks and the constitution of a community of listeners/recordists will then allow us to submit the hypothesis of a transindividuation that can be achieved through the sensitive displacement of places, thanks to sound and through the intermediary of the technique., Cet article propose une étude de la pratique du field recording dans la considération d’une relation entre milieux, sujets captants, sujets écoutants, et technologie. À l’appui notamment des pensées de Gilbert Simondon, de Bernard Stiegler, d’Augustin Berque et de Ludovic Duhem, j’interroge la possibilité d’une approche positive de la question technologique et de la localité, au travers des notions de transindividuation et de translocalité (ou schizotopie). Après avoir situé les problèmes de la technologie et de la localité dans leurs contextes politiques, l'explication de la dimension prothétique de la technique audio visera dans un premier temps à en souligner les rapports au milieu, afin de définir une localité acoustique et d'explorer les conditions de l'individuation des field recordists. L'usage des réseaux et la constitution d'une communauté d'écoutants/pratiquants permettra en second temps de soumettre l'hypothèse d'une transindividuation qui puisse se réaliser par le déplacement sensible des lieux, grâce au son et par l'intermédiaire de la technique.

En el presente trabajo se exploran, desde una perspectiva semiótica, distintos aspectos constitutivos del campo del field recording, particularmente en un ámbito circunscripto del mismo en el que las grabaciones de campo funcionan como prácticas artísticas en sí mismas. En esta dirección, se pondrá foco en la dimensión significante de las producciones discursivas inscriptas dentro de dicho dominio, indagando acerca de sus particulares modalidades de funcionamiento y de sus cualidades en tanto fenómenos mediáticos que promueven singulares procesos de mediatización sonora. A tales efectos, se partirá de una problematización en torno a la noción de objeto sonoro, indagando acerca de su estatuto y tensionando dicha noción en el marco de distintas prácticas inscriptas dentro del campo del field recording. Ulteriormente, se profundizará en una de las concepciones dominantes que orienta gran parte de las producciones sonoras dentro del dominio del field recording: la correspondiente al sonido en-sí-mismo. Se discutirá dicha concepción a partir de dos referentes del campo y del modo en que sus preceptos estéticos se materializan en su producción sonora. A partir de la caracterización y comprensión de dicha concepción, en su particular relación con los objetos sonoros, confrontaremos con otras orientaciones dentro del campo que proponen trayectorias semióticas que van más allá de la inmanencia del sonido en-sí-mismo, tensionando con diversas capas significantes que se articulan con aspectos específicos del contexto social, histórico, ecológico o cultural del lugar en el que se generan las grabaciones de campo. Finalmente, esto nos habilitará a considerar, más cabalmente, la complejidad de los procesos de producción de sentido en ambas vertientes y el modo en que operan los procesos de circulación discursiva en el contexto de las field recordings en la contemporaneidad. In this work, different constitutive aspects of the ground of field recording are explored from a semiotic perspective, particularly in a circumscribed area of the field in which it functions as artistic practices in themselves. In this direction, our focus will be placed on the significant dimension of the discursive productions inscribed within said domain, inquiring about their particular modes of operation and their qualities as media phenomena that promote singular processes of sound mediatization. To this end, we will start from a problematization around the notion of sound object, inquiring about its status and to tenses said notion within the framework of different practices inscribed within the ground of field recording. Subsequently, we will delve into one of the dominant conceptions that guides a large part of sound productions within the domain of field recording: that corresponding to the sound-in-itself. This conception will be discussed from two referents of the field and the way in which its aesthetic precepts are materialized in its sound production. From the characterization and understanding of this conception, in its particular relationship with sound objects, we will confront other orientations within the field that propose semiotic trajectories that go beyond the immanence of sound-in-itself, stressing with various signifiers layers that are articulated with specific aspects of the social, historical, ecological or cultural context of the place where the field recordings are generated. Finally, this will enable us to consider, more fully, the complexity of the processes of production of meaning in both conceptions and the way in which the processes of discursive circulation operate in the context of field recordings in contemporary times. Universidad Nacional de Rosario (UNR) Universidad Nacional de las Artes (UNA)

This text, resulting from a research-creation on low-intensity noise pollution, defines a theoretical research framework in which different heterogeneous concepts interact around the question of environmental artistic engagement: environmental movement, ecology, anthropocene, ecosophy, aesthetics of engagement, artivism, eco-art, sound art, sound ecology. From this complex state of the art emerge three ethics: the ethics of environmental responsibility, the ethics of sound exploration, and the ethics of artistic sincerity. A second section offers the description of the creation These sounds that invade us, considered as a research methodology in three acts: the anthropophony.org collaborative sound library which archives field recordings considered as unwanted sounds, urban soundwalks to raise awareness of the noises that our ears filter, and the composition of dystopian soundscapes developed from the sounds archived on anthropophony.org., Ce texte, issu d’une recherche-création sur la pollution sonore de faible intensité, définit un cadre de recherche théorique dans lequel différents concepts hétérogènes interagissent autour de la question de l’engagement artistique environnemental : le mouvement environnemental, l’écologie, l’anthropocène, l’écosophie, l’esthétique de l’engagement, l’artivisme, l’éco-art, l’art sonore, l’écologie sonore. Depuis ce cadre émergent trois éthiques : l’éthique de la responsabilité environnementale, l’éthique de l’exploration sonore, l’éthique de la sincérité artistique. L’article propose également la description de la création Ces sons qui nous envahissent, envisagée comme une méthodologie de recherche en trois actes : la sonothèque collaborative anthropophony.org qui archive des field recordings considérés comme des sons indésirables, des balades sonores urbaines de sensibilisation aux bruits que nos oreilles filtrent, et la composition de paysages sonores dystopiques réalisés à partir des sons archivés sur anthropophony.org.

Nos meses de março, abril e maio de 2020, no contexto da pandemia de COVID-19, Portugal enfrentou um período de confinamento. Durante esse tempo, o isolamento domiciliário a que todos fomos votados, acabou por nos expor a uma atmosfera sonora completamente diferente, eventualmente mais sossegada e silenciosa que o habitual. A curiosidade acerca dos sons que acabaram por se revelar nesse ambiente sónico modificado levou o projeto AUDIRE a lançar um convite público, para que quem assim desejasse contribuir, pudesse partilhar o modo particular como escutou os sons evidenciados pela quarentena. Dos quase 60 registos analisados, verificou-se, mesmo em confinamento, a presença expressiva de sonoridades motivadas pela ação humana, inclusive em contextos onde a biofonia ou geofonia poderiam sobressair-se., Portugal, as most countries across the world, faced a lockdown period caused by the COVID-19 pandemic, during the months of March, April and part of May 2020. This isolation period, where most of us stayed at home, exposed us to a completely different sonic atmosphere, quieter than usual. Curiosity about the sounds that ended up being revealed in this modified sonic environment led the AUDIRE project to issue an open invitation to all of those who wanted to contribute and share their own particular ways of hearken the sounds put to evidence by the lockdown period. From the analysis of almost 60 sounds, it was clear that, even during a lockdown, there was a significant presence of sonorities motivated by the human action, even in spaces where biophony or geophony should prevail.

Dado que una de las condiciones de posibilidad fundamentales de la transmisión del virus SARS-CoV-2 a seres humanos han sido los circuitos de caza y comercialización de animales silvestres, la pandemia de COVID-19 ha dejado en evidencia que de ahora en más la salud humana debe ser pensada desde un concepto más amplio, en el cual se incluya el estado de preservación de los ecosistemas naturales. Propuestas actuales de ello son, por ejemplo, la perspectiva One Health o la Eco-Health. Paralelamente, resulta preciso fortalecer enfoques ético-ambientales que permitan generar consciencia colectiva de la relevancia que poseen esos espacios naturales, no solo para la supervivencia de los seres vivos que allí habitan sino también para la de los seres humanos. Ahora bien, según argumentan diversos filósofos contemporáneos como Peter Singer o psicólogos como Paul Slovic, la moral humana posee una suerte de "punto ciego" que dificulta el interés por personas no identificadas y estadísticas. A la luz del avance constante de la degradación de los ecosistemas naturales y de la dificultad de generar conciencia sobre la importancia de dichos espacios para la preservación de la vida humana, ese "punto ciego" de la moral parece ser análogo a la falta generalizada de motivación pro-ambiental. En este artículo se analizará la posibilidad de hallar una vía de investigación próspera en el favorecimiento de motivaciones pro-ambientales a través de experiencias como las propuestas por David Monacchi en su proyecto Fragments of Extinction, particularmente la que es ofrecida en su teatro ecoacústico. Según se argumentará, los field recordings medioambientales, por su potencialidad de brindarle al escucha una experiencia inmersiva del espacio natural, pueden ofrecer estrategias que faciliten la interpelación del sistema afectivo necesaria para favorecer un compromiso moral para con la suerte de los ecosistemas naturales. Since one of the fundamental conditions of possibility for the transmission of the SARS-CoV-2 virus to humans has been the hunting and commercialization circuits of wild animals, the COVID -19 pandemic has made it clear that from now on the Human health must be thought from a broader concept, which includes the state of preservation of natural ecosystems. Current proposals for this are, for example, the One Health or Eco-Health perspectives. At the same time, it is necessary to strengthen ethical-environmental approaches that allow generating collective awareness of the relevance of these natural spaces, not only for the survival of the living beings that inhabit there but also for that of human beings. However, as argued by various contemporary philosophers such as Peter Singer or psychologists such as Paul Slovic, human morality has a kind of "blind spot" that hinders interest in unidentified people and statistics. In light of the constant advance of the degradation of natural ecosystems and the difficulty of generating awareness about the importance of the se spaces for the preservation of human life, this "blind spot" of morality seems to be analogous to the general lack of pro-environmental motivation. Tis article will analyze the possibility of finding a prosperous way of research in favoring pro-environmental motivations through experiences such as those proposed by David Monacchi in his Fragments of Extinction project, particularly the one offered in his Eco-acoustic Theater. As will be argued, environmental field recordings, due to their potential to provide the listener with an immersive experience of the natural space, can offer strategies that facilitate the interpellation of the affective system necessary to favor a moral commitment to the fate of natural ecosystems. Fil: Suárez-Ruíz, E. Joaquín. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales (UNLP-CONICET); Argentina.

International audience; The last decade has seen an increase in academic literature in the humanities and social sciences on the sonic dimension of our world. This chapter asks ‘what’ sounds are of interest to ethnography, ‘why’, and consequently ‘how?’This chapter, like the rest of this Handbook, is dedicated to the thorny issue of methodologies. From a heuristic point of view, a method (i.e. ‘how’) is only worthwhile if it is based on the answers given to the first two questions, ‘what’ and ‘why’. It is important to draw clear distinctions between these three questions, although they often overlap in the complex and varied context of ethnography (at least for ethnographies that are not fettered upstream of the fieldwork by theory and programmatic approach).Therefore, it goes without saying that I cannot suggest a ‘good’ and sound methodology to be used in doing ethnographic research, as it depends on the purposes and the context of the fieldwork; and also, as I think of the senses as interconnected and perceive the environment as a whole, an exclusive sonic modality or category will be avoided.I will give a quick and partial overview of ethnographies that are concerned with sound in order to present my own questions in a more precise and informed way. The journey I propose here does not quite illustrate a categorization that I would come to terms with, it is too incoherent as such, but it is rather a way of bringing about the different methodologies that are, or could be, used in sonic ethnography.; La dernière décennie a vu se multiplier la littérature universitaire en sciences humaines et sociales sur la dimension sonore de notre monde. Ce chapitre pose la question de savoir « quels » sons intéressent l’ethnographie, « pourquoi » et donc « comment ».Ce chapitre, comme le reste de ce manuel, est consacré à l’épineuse question des méthodologies. D’un point de vue heuristique, une méthode (c’est-à-dire le « comment ») n’a de valeur que si elle se fonde sur les réponses données aux deux premières questions, « quoi » et « pourquoi ». Il est important d’établir des distinctions claires entre ces trois questions, bien qu’elles se chevauchent souvent dans le contexte complexe et varié de l’ethnographie (du moins pour les ethnographies qui ne sont pas entravées en amont du terrain par la théorie et une approche programmatique).Par conséquent, il va sans dire que je ne peux pas suggérer la « bonne » et solide méthodologie à utiliser dans la recherche ethnographique, car cela dépend des objectifs et du contexte du travail de terrain ; et aussi, parce que je pense que les sens sont interconnectés et perçoivent l’environnement dans sa totalité, une modalité ou catégorie sonore exclusive sera évitée.Je donnerai un aperçu rapide et partiel des ethnographies qui s’intéressent au son afin de présenter mes propres interrogations de manière plus précise et plus éclairée. Le parcours proposé ici n’illustre pas tout à fait une catégorisation avec laquelle je pourrais composer, elle est trop incohérente en tant que telle, mais c’est plutôt une façon de faire apparaître les différentes méthodologies qui sont, ou pourraient être, utilisées en ethnographie sonore.

International audience; While more and more used in music and sound art, field recording remains under theorised. This paper aims to study this practice in relation to the technology and to modes of listening. I argue that field recording cannot be thought without its technological tools: microphones, headphones, recorders and speakers. I discuss that this set of audio technologies acts as a way of ‘translating’ the environment by allowing for a detachment toward what is listened to. I also conceptualise listening as a creative stance. To support my claim, I deploy historical examples from the sound hunting movement alongside recent scholarly works that investigate the role of imagination and empathy in music extending this method to ambient sounds. Finally, I argue that field recording can be used as a method to engage creatively with the environment.

International audience; What are the political implications and ethical concerns of sampling sounds of war? This is a critical question raised by The End of Silence, a 2013 record from the British composer Matthew Herbert based entirely on a six-second field recording of the Libyan civil war. Musicologist Luis Velasco-Pufleau examines this question and argues that sound and music can enable critical examinations of the rationale of war.

Dans le cadre de sa thèse de doctorat en archéologie portant sur le site d’Akerentia en Calabre, commencée en 2013 à l’université de Genève, Aurélie Terrier a choisi d’utiliser le programme iDig© lors des fouilles de l’un des bâtiments principaux. Ce dernier, développé par Bruce Hartzler pour l’école américaine d’Athènes est construit sur un modèle de base de données. Uniquement supporté par les iPad, iDig© a été utilisé par le reste de l’équipe d’Akerentia depuis la campagne 2016. Le bilan méthodologique dressé à l’issue des fouilles met en évidence l’apport novateur du logiciel autant qu’il pointe les limites financières et technologiques de ce système. Dans le cadre de la reprise de la fouille et du bâti par l’équipe dès 2019, une double réflexion méthodologique et épistémologique a été engagée visant à reconsidérer les données nécessaires et les protocoles d’enregistrement de celles-ci sur le terrain et dans le cadre de la post-fouille. As part of her PhD on the site of Akerentia, in Calabria, which she started in 2013 at the University of Geneva, Aurélie Terrier chose to use iDig© program during the excavations of one of the main buildings. iDig©, developed by Bruce Hartzler for the American school in Athens, is built on a database model. Only supported by iPad, the software has been used by Akerentia team since the 2016 campaign. The methodological assessment drawn up at the end of the excavations highlights as the innovative contribution of the program as well as its technological and financial limits. As part of the excavations and study resumption by the team from 2019, a methodological and epistemological reflection has been initiated to reconsider the necessary data and their recording protocols on the field and during the post-search.

This article reflects on audio methods and field recordings as means of examining how a cultural-spiritual space can be experienced by young people through an arts heritage project undertaken with primary school children in rural Ireland. Contributing to the growing role of sound and audio in geographical research, we consider how a series of participatory workshops at a holy well fostered curiosity and ludic engagements with the place enhancing the understanding of this location in a process that merged creative practice, spiritual heritage and wonder.

Ce mémoire se propose d’étudier le concept de paysage sonore comme médium écologique. Nous aborderons dans un premier temps la notion de paysage sonore en remontant aux origines de la notion même de paysage et de celle du bruit. Dans un second temps, nous déplacerons notre attention de l’espace sonore à l’espace publicitaire. Nous verrons comment les annonceurs véhiculent des représentations d’animaux prédateurs pour l’être humain en les personnifiant dans des campagnes d’intérêt général. Dans un troisième temps, nous essaierons de comprendre comment le son se déplace sur le territoire. Nous tenterons d'appréhender les contours incommensurables d'un objet aussi vaste que la frontière ainsi que le déplacement du son et ses fluctuations.

During the last 10 years, Regional Historical Museum staff with colleagues participating in the Tundzha Regional Archaeological Project (TRAP) visited over 700 burial mounds in the Yambol province. Using mobile,GIS applications such as ArcPAD and FAIMS, they collected GPS points, photos, and described the condition ofeach mound. In the last season, FAIMS was used to produce digitally-born, spatially-enhanced dataset that integrated structured data with multimedia. Resulting datasets are stored in the national archaeological siteregister, known as the Archaeological Map of Bulgaria (AMB). AMB is accessible online by national and local institutions.Burial mounds are earthen features ranging from 0.5 to 5 m in height and up to 50 m diameter. They were built from the Early Bronze Age to the beginning of Late Antique period in connection with mortuary practices. Their conspicuous size and wealthy contents have made them a target for treasure-hunting. During the recent years more trials have resulted in treasure hunters charged for destroying monuments of culture. Precise coordinates of affected archaeological sites now form evidence during court trials.The ability to systematically collect structured data and multimedia in remote areas, to record location precisely,and integrate information from multiple simultaneously running teams is crucial for effective cultural heritage management and successful protection of archaeological sites

This essay examines how field recordings have been used in composition historically, and how three contemporary composers are using field recording as an element in their compositional practice. With focus on the relationship between detailed listening to sonic environments, inspiration and musical composition and the correlation between these aspects, this essay investigates a few examples of current artistic practices wherein field recording has been used as an integral part of the artistic process. The results of this study show a wide discrepancy between how the composers use and process field recordings in their respective work, and also shows shared commonalities regarding how composers actively listen to and retrieve inspiration from their sonic environments, and how they develop an ear for a complex and detailed musicality of the sounds they encounter in everyday life. The study also comments on and analyses the historical use of field recording in artistic practices and the use of field recording as a subjective form of artistic expression.

Relevance of the study. The study of the world music is associated with many methodological problems, since the musicological toolkit to analyze this music has not yet been developed in Ukraine. The need for its development represents the relevance of this study.The main objective of the study is to consider the peculiarities of authorship in the world music.Methodology of the study. To reveal these peculiarities, the study material containing the compositions of the world’s most popular musicians of world music, namely the French band “Deep Forest”, the Benin singer Angélique Kidjo, and the Ukrainian band “DakhaBrakha”, was selected. In all three examples, the facts of borrowing “someone else’s” musical text were discovered. The use of “someone else’s” text in the analyzed compositions appeals to the issues of quotation in music, which were considered in detail in musicology literature by many researchers. It should be noted that the use of the quotation theory in relation to the world music is a process of adaptation of the musicological toolkit, which has developed in the music of academic tradition. However, this process is due to the lack of the required musicological toolkit for world music, which demonstrates the methodological problem of researching this kind of music.Results and conclusions. The use of «someone else’s» musical text in the works of the world music musicians allows us to admit the idea that we face the fact of “double authorship”. But the authorship of «someone else’s» text is actually misappropriated by the musicians of the world music. However, the functioning of “someone else’s text” in the considered examples as a quote in relation to the author’s part of the compositions can explain the fact of misappropriation of someone else’s material, since the use of the quotation does not require “double authorship”. The use of the quotation theory for the analysis of world music explains the significance of the study findings., Актуальность исследования. Исследование world music связано со многими методологическими проблемами, поскольку музыковедческий инструментарий для анализа этой музыки в Украине еще не был разработан. Необходимость его разработки составляет актуальность исследования. Цель исследования – рассмотреть специфику проявления авторства в world music.Методология исследования. Для выявления этой специфики был выбран материал исследования, который составили композиции самых популярных в мире музыкантов world music: французской группы «Deep Forest», бенинской певицы Анжелики Киджо, а также украинской группы «ДахаБраха». Во всех трех примерах были выявлены факты заимствования «чужого» музыкального текста. Использование «чужого текста» в проанализированных композициях апеллирует к вопросам цитирования в музыке, которые были подробно рассмотрены в музыковедческой литературе многими исследователями. Надо отметить, что использование теории цитирования по отношению к world music является процессом адаптации музыковедческого инструментария, который сложился в музыке академической традиции. Однако этот процесс вызван отсутствием необходимого музыковедческого инструментария для world music, демонстрируя методологическую проблему исследования этой музыки.Основные результаты и выводы исследования. Использование «чужого» музыкального текста в творчестве музыкантов world music позволяет допустить мысль о том, что мы сталкиваемся с фактом «двойного авторства». Но авторство «чужого» текста фактически присваивается музыкантами world music себе. Однако функционирование «чужого текста» в рассмотренных примерах в качестве цитаты по отношению к авторской части композиций может объяснить факт присвоения чужого материала, поскольку использование цитаты не требует «двойного авторства». В использовании теории цитирования для анализа world music заключается значимость результатов исследования., Розглянуто творчість найпопулярніших у світі музикантів world music: французького гурту «Deep Forest» (альбоми «Deep Forest» та «Boheme»), бенінської співачки Анжеліки Кіджо (альбом «Eve») та українського гурту «ДахаБраха» (альбом «Light»). Їхні композиції проаналізовано з погляду прояву авторства. Розглянуто факти звернення музикантів world music до музики різних етнічних культур, зокрема до експедиційних записів. Актуалізовано проблему «подвійного авторства». Обґрунтовано використання «чужого» тексту з погляду питань цитування в музиці, теорія якого, однак, склалася в традиції академічного музикознавства

This essay reports on the pedagogical and curricular decisions guiding the creative activities in the author's university course incorporating field recording, soundscape-based composition, and digital technology. In keeping with the issue's theme of 21st-century composition, the article includes critical reflection and a consideration of the influence of R. Murray Schafer. It contextualizes the course in the broader context of modern compositional activities in university settings. The author's creative practice informs much of the pedagogical framework as a soundscape-based composer.

A week-long workshop with 13 photographers and 4 sound artists, working with photographers Michael Ackerman and Stephane Charpentier and sound artist Alyssa Moxley, creating an audiovisual portrait of Athens and exploring audiovisual associations and dislocations. Outputs were an hour-long improvised performance at the Institut Francais in Athens (https://vimeo.com/275498880) and a book containing photos and sound recordings, entitled 'Almost True' and published in limited edition by Void (https://void.photo/).

Vad berättar ljud för oss? Olika ljud ger olika konnotationer beroende på vem som lyssnar, vad den har för förkunskaper och erfarenheter. Lyssnandet är i allra högsta grad subjektivt. Vad har en filmmusikkompositör för ansvar? Är det viktigt att vara tydlig i vilka val av ljud kompositören gjort och varför just de ljuden valts ut? Spelar det egentligen någon roll när det subjektiva lyssnandet träder in? Behöver de ljud vi hör vara det vi tror att de är? Det här är några av de frågor som intresserar mig och ligger till grund för det ämne som jag har valt: experimenterande med ljud i filmberättande. I mitt examensarbete har jag både konstnärligt och i denna text reflekterat kring ämnet. Till uppsatsen följer bilagor i form av ljudfiler och en dokumentär kortfilm, Vi Andra, regi: Sharmarke Binyusuf och Manolo Diaz Rämö, klipp: Jakob Åsell, ljud: Gustaf Forsberg, produktion: Beatrice Pourbagher Garcia.Länk till filmen går att få vid meljkontakt.

This dissertation questions through a design approach the ways and means allowing the construction of stories related to the urban imaginary. The latter constitute possibilities of telling something through the sound dimensions of historical events, and both individual and collective experiences. The “designer of urban sounds” then builds their own urban scenophony, a method allowing the telling of the sound space — between the spaces of time and the times of space. Such a position allows to account for the socio-cultural weight of sound in the waythe world is told. This research is about detecting and then questioning what is at stakes in a changing society, using field recordings and “territory sound creations,” i.e. narratives built from the raw material of those field recordings. Two dimensions are involved in this work: a theoretical study of an artistic corpus (Tome I) and an action research born outof a city of Strasburg Cifre contract for the state-sponsored and controled Shadok,fabrique du numérique, in collaboration with a transdisciplinary association, Horizome,and the ACCRA team of the University of Strasburg (Tome II).; Cette thèse interroge, par la méthode et la conception design, les modalités permettant de construire des récits liés à l'imaginaire urbain. Ces derniers constituent des potentialités qui racontent au travers de la dimension sonore des faits mémoriels, histoires et vécus de groupes. Le « designer des sons de l'urbain » construit alors sa propre scénophonie urbaine, procédé permettant de raconter l'espace sonore, entre espaces du temps et temps de l'espace. Cette posture permet de rendre compte de la prégnance socio-culturelle du fait sonore dans la manière de raconter le monde. Il s'agit de déceler puis d'interroger les enjeux d'une société en pleine mutation à partir de l'utilisation d'enregistrements de terrain et de créations sonores de territoire, c'est-à-dire des narrations composées à partir de ces premières captures. Ce travail s'articule autour d'une étude théorique d'un corpus artistique (Tome 1) et d'une recherche-action menée dans le cadre d'un contrat Cifre au sein de la Direction de la Culture de la Ville de Strasbourg, pour le Shadok, fabrique du numérique, régie directe de l'Eurométropole en collaboration avec une association trandisciplinaire, Horizome et l'équipe d'accueil ACCRA de l'Université de Strasbourg (Tome 2).

This article examines the background and current challenges of integrating spatial data in field archaeology, particularly in the light of ongoing technological advances. This is done through a brief comparative overview of the development of field recording principles in the UK and Denmark. Archaeology in the two countries historically represents two different standpoints of methodological traditions and corresponding ideals of documentation. The question is, if technological developments – and not least the limitations of the applied digital frameworks – have been an important defining factor and continue to affect the reconditions of the methodological development when it comes to spatial data recording and the advent of more complex spatial data. This article demonstrates that 3D documentation techniques are indeed increasingly accepted and applied despite the limitations of technical frameworks such as GIS or CAD. Even more interesting is the potential of Structure from Motion and similar techniques for archaeological field recording as it may constitute a new methodological framework, bridging the gap between different field archaeological traditions; a middle ground of documentation principles, where single context planning and strict stratigraphical approaches meet the arbitrary, pragmatic geometric sectioning of features. Although different methodological approaches clearly relate to an ideal with consequences for our archaeological praxis, excavation and documentation methodologies are not necessarily restricted or determined by the available technology. Modern archaeology tends to be sufficiently open-minded and in support of continued experimentation, which is required to manage new and different methods of data acquisition and spatial documentation and representation.

In this paper, we will present preliminary results of our ongoing study on the soundscapes of vacant lands in Lisbon Eastern Zone (LEZ). Our methodology comprised two stages. Firstly, all the vacant lands of Lisbon municipality were identified and georeferenced using remote sensing methods and high-resolution aerial photography. In the second stage, a field survey with the purpose of characterising the morphology, vegetation, and animal and human occupation of the vacant lands was conducted, along with field recordings of their soundscapes. The results of our study include the classification of vacant lands and of their soundscapes. We argue that listening to the sounds of urban vacant lands defies traditional notions of the urban soundscape as dominated by anthrophonies.

This dissertation questions through a design approach the ways and means allowing the construction of stories related to the urban imaginary. The latter constitute possibilities of telling something through the sound dimensions of historical events, and both individual and collective experiences. The “designer of urban sounds” then builds their own urban scenophony, a method allowing the telling of the sound space — between the spaces of time and the times of space. Such a position allows to account for the socio-cultural weight of sound in the waythe world is told. This research is about detecting and then questioning what is at stakes in a changing society, using field recordings and “territory sound creations,” i.e. narratives built from the raw material of those field recordings. Two dimensions are involved in this work: a theoretical study of an artistic corpus (Tome I) and an action research born outof a city of Strasburg Cifre contract for the state-sponsored and controled Shadok,fabrique du numérique, in collaboration with a transdisciplinary association, Horizome,and the ACCRA team of the University of Strasburg (Tome II)., Cette thèse interroge, par la méthode et la conception design, les modalités permettant de construire des récits liés à l'imaginaire urbain. Ces derniers constituent des potentialités qui racontent au travers de la dimension sonore des faits mémoriels, histoires et vécus de groupes. Le « designer des sons de l'urbain » construit alors sa propre scénophonie urbaine, procédé permettant de raconter l'espace sonore, entre espaces du temps et temps de l'espace. Cette posture permet de rendre compte de la prégnance socio-culturelle du fait sonore dans la manière de raconter le monde. Il s'agit de déceler puis d'interroger les enjeux d'une société en pleine mutation à partir de l'utilisation d'enregistrements de terrain et de créations sonores de territoire, c'est-à-dire des narrations composées à partir de ces premières captures. Ce travail s'articule autour d'une étude théorique d'un corpus artistique (Tome 1) et d'une recherche-action menée dans le cadre d'un contrat Cifre au sein de la Direction de la Culture de la Ville de Strasbourg, pour le Shadok, fabrique du numérique, régie directe de l'Eurométropole en collaboration avec une association trandisciplinaire, Horizome et l'équipe d'accueil ACCRA de l'Université de Strasbourg (Tome 2).

International audience

International audience

International audience; What does raining thousands of birds sound like ? A dreadful natural soundscape. A disproportionately loud explosion of fireworks echoed in the natural soundscape of Arkansas on the last day of 2010. That forced about 5000 birds with a poor night vision to fly on a lower altitude and to consequently crash into the city structures such as telecommunication towers and high rises.But the same technological advances which can have such a disturbing impact on living beings and natural phenomena can be used to preserve natural resources. Acoustic Ecology and the emergence of the study of Soundscapes as an interdisciplinary discourse was spearheaded by R.Murray Schafer and gave rise to various practices in contemporary sound art (Katie Paterson, Matthew Burtner, Erik Samakh, Bernie Krause among others.)By placing emphasis on the level of awareness and hearing capacity of acoustic environments, the whole body can be transformed to an auditory receptor, and consequently, the embodiment of a soundscape.Technology and ecology impact one another in profound ways. While often detrimental and even catastrophic, this impact can be reverted to create disruptive narratives that reflect on, examine and bring to light the relationship between nature, human body, technology and sound art.

In video gaming and interactive media, the making of complex sound ambiences relies heavily on the allowed memory and computational resources. So a compromise solution is necessary regarding the choice of audio material and its treatment in order to reach immersive and credible real-time ambiences. Alternatively, the use of procedural audio techniques, i.e. the generation of audio content relatively to the data provided by the virtual scene, has increased in recent years. Procedural methodologies seem appropriate to sonify complex environments such as virtual cities.In this thesis we specifically focus on the creation of interactive urban sound ambiences. Our analysis of these ambiences is based on the Soundscape theory and on a state of art on game oriented urban interactive applications. We infer that the virtual urban soundscape is made of several perceptive auditory grounds including a background. As a first contribution we define the morphological and narrative properties of such a background. We then consider the urban background sound as a texture and propose, as a second contribution, to pinpoint, specify and prototype a granular synthesis tool dedicated to interactive urban sound backgrounds.The synthesizer prototype is created using the visual programming language Pure Data. On the basis of our state of the art, we include an urban ambiences recording methodology to feed the granular synthesis. Finally, two validation steps regarding the prototype are described: the integration to the virtual city simulation Terra Dynamica on the one side and a perceptive listening comparison test on the other., Suite à un état de l'art détaillant la création et l'utilisation de l'espace sonore dans divers environnements urbains virtuels (soundmaps, jeux vidéo, réalité augmentée), il s'agira de déterminer une méthodologie et des techniques de conception pour les espaces sonores urbains virtuels du point de vue de l'immersion, de l'interface et de la dramaturgie.ces développements se feront dans le cadre du projet terra dynamica, tendant vers une utilisation plurielle de la ville virtuelle (sécurité et sureté, transports de surface, aménagement de l'urbanisme, services de proximité et citoyens, jeux). le principal objectif du doctorat sera de déterminer des réponses informatiques concrètes à la problématique suivante : comment, en fonction de leur utilisation anticipée, les espaces sonores urbains virtuels doivent-ils être structurés et avec quels contenus?la formalisation informatique des solutions étayées au fil du doctorat et la création du contenu sonore illustrant le projet seront basés sur l'analyse de données scientifiques provenant de domaines variés tels que la psychologie de la perception, l'architecture et l'urbanisme, l'acoustique, la recherche esthétique (musicale) ainsi que sur l'observation et le recueil de données audio-visuelles du territoire urbain, de manière à rendre compte tant de la richesse du concept d'espace sonore que de la multiplicité de ses déclinaisons dans le cadre de la ville virtuelle.

Bilaga: 1 CD.

Composition Portfolio: Blanket (2005), Low_r (2007), Hollow (2007), Invisible (2007), Dawn (2008), Green Gate (2009), Voice (2009), Morning (2009), Throbbing (2012), Áitleku (2012) This practice-based research is concerned with a collection of fixed media compositions written between 2005 and 2012 with accompanying contextual writing. The primary focus of this research was to produce sound works, but the concept of place has played a significant role throughout both the compositional process and in the reflection of each composition. This research explores how place is ‘heard and felt’ (Feld, 2005) in a composition and how recollected memory impacts on the compositional process. Artistic decisions made with regard to creating the compositions reflect my personal place and associations with these sound materials at a given time whether they are field recordings or synthesised materials. The way in which sound material is subsequently processed and structured reflects this. Place and the compositional practice inform each other in a two-way process. This results in what Katharine Norman (2010) has referred to in her writing on sound art as an ‘autoethnographic’ journey; a representation of the creator’s personal experience. I have begun to reflect on these compositions as art works that represent a particular time or place. The artwork represents the trace of the place from which it was composed (Corringham, 2010). I believe that I cannot totally transport a person to my place; rather, I intend this creative representation to enable the listener to create and inspire their own narrative.

Both science and policy require a practical, transmissible, and reproducible procedure for surveillance and monitoring of European habitats, which can produce statistics integrated at the landscape level. Over the last 30 years, landscape ecology has developed rapidly, and many studies now require spatial data on habitats. Without rigorous rules, changes from baseline records cannot be separated reliably from background noise. A procedure is described that satisfies these requirements and can provide consistent data for Europe, to support a range of policy initiatives and scientific projects. The methodology is based on classical plant life forms, used in biogeography since the nineteenth century, and on their statistical correlation with the primary environmental gradient. Further categories can therefore be identified for other continents to assist large scale comparisons and modelling. The model has been validated statistically and the recording procedure tested in the field throughout Europe. A total of 130 General Habitat Categories (GHCs) is defined. These are enhanced by recording environmental, site and management qualifiers to enable flexible database interrogation. The same categories are applied to areal, linear and point features to assist recording and subsequent interpretation at the landscape level. The distribution and change of landscape ecological parameters, such as connectivity and fragmentation, can then be derived and their significance interpreted.

There is a well defined policy requirement for a practical and reproducible procedure for surveillance and monitoring of habitats in Spain that can subsequently be fitted into a European framework. Any such procedure also needs to incorporate records of the Spanish habitat classification. A procedure is described that will satisfy those requirements and has been field tested both in Spain and in Europe. Rigorous rules and training are required; otherwise changes from baseline records cannot reliably be separated from background noise. The procedure uses the classical plant life forms long used in biogeography and is based on their statistical relationship with the environment. This relationship has been validated statistically and the procedure has also been tested in the field in all European environmental zones and widely in Spain. 130 General Habitat Categories are defined and these are enhanced in the field by recording environmental, site and management qualities to produce a flexible database that can then be interrogated. The rules for mapping the habitats mean that they can be used for descriptive purposes or for monitoring. In conjunction with stratification and subsequent sampling, national estimates of stock and change can then be produced. Finally, based on the previous experience of SISPARES, a methodological scheme is proposed for adapting the approach to Spain. The proposal will allow links to be made between European scale surveillance and monitoring to those already obtained for Spain., en España políticas bien definidas que demandan procedimientos prácticos y reproducibles para llevar a cabo la supervisión y seguimiento de los hábitats, de modo que subsecuentemente puedan ajustarse al marco Europeo. Cualquier procedimiento de estas características necesita poder incorporar datos registrados de la clasificación española de hábitats. Aquí se describe un procedimiento que satisface dichos requisitos y que ha sido probado tanto en España como en el resto de Europa. El método exige reglas rigurosas y entrenamiento de campo; si no los cambios en los registros básicos no se podrán separar de manera fiable de los errores subjetivos cometidos durante la toma de datos. El procedimiento utiliza las clásicas formas de vida, ampliamente utilizadas en estudios biogeográficos y está basado en sus relaciones con el medio ambiente. Esta relación ha sido validada estadísticamente y el procedimiento ha sido probado en el campo en todas las zonas ambientales de Europa. En España, se han definido 130 Categorías Generales de Hábitats y se han verificado en el campo mediante el registro de atributos ambientales, estacionales y de manejo, de forma que puedan ser incluidas en una base de datos suficientemente flexible. Las directrices para la cartografía de hábitats posibilitan su uso descriptivo y permiten su seguimiento. Al mismo tiempo, con la estratificación y subsecuente muestreo, es posible hacer estimaciones nacionales de existencias y de cambios Finalmente, basados en las experiencias previas de SISPARES, se propone un esquema metodológico para adaptar BIOHAB a España. La propuesta permitirá conectar los resultados a escala Europea de supervisión y seguimiento con los obtenidos a escala española.

In this paper we present a method to search for environmental sounds in large unstructured databases of user-submitted audio, using a general sound events taxonomy from ecological acoustics. We discuss the use of Support VectorMachines to classify sound recordings according to the taxonomy and describe two use cases for the obtained classificationmodels: a content-based web search interface for a large audio database and a method for segmenting field recordings to assist sound design. This paper was partially supported by the ITEA2 Metaverse1 (http://www.metaverse1.org/) project.

Audio and video parts of an audiovisual document interact to produce an audiovisual, or multi-modal, perception. Yet, automatic analysis on these documents are usually based on separate audio and video annotations. Regarding the audiovisual content, these annotations could be incomplete, or not relevant. Besides, the expanding possibilities of creating audiovisual documents lead to consider different kinds of contents, including videos filmed in uncontrolled conditions (i.e. fields recordings), or scenes filmed from different points of view (multi-view). In this paper we propose an original procedure to produce manual annotations in different contexts, including multi-modal and multi-view documents. This procedure, based on using both audio and video annotations, ensures consistency considering audio or video only, and provides additionally audiovisual information at a richer level. Finally, different applications are made possible when considering such annotated data. In particular, we present an example application in a network of recordings in which our annotations allow multi-source retrieval using mono or multi-modal queries.

info:eu-repo/semantics/published