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This paper proposes a look at the community of culture from the viewpoint of the community of sounds, which is its immanent part. The sound environment is a significant element which builds a feeling of national, local, group, generational, and other affiliation and identity. Sounds may function as symbols, be a part of rituals, and carry values. Treating the audiosphere as an indicator of a community opens us to a new dimension of reflecting on the meaning of the sound landscape, understood, after R. M. Schafer, as the whole or a part of the sound environment with its perceptual, social, and historical-social context. Sound is the reflection of social organization systems created by people; therefore, social changes are reflected in the sound environment. In the analysis of this issue, I have used field recordings and their descriptions made by pedagogy students from the University of Lodz. The students’ observations confirm that it is worth reflecting on the sound in the ocularcentric world, which seems more than before dominated by sight, considered a sense of distancing by Wolfgang Welsch.

This article reviews the history, methods, engagements, and longstanding debates of the sonic medium of field recording. It considers not just standalone field recordings but diverse music and sound art genres where environmental sounds feature. Although they diverge in their approaches, field recordists (and those who apply these recordings in creative practice) are united in the belief that field recordings grant access to and precipitate emotionally heightened spaces. These positively-valenced emotions can potentially ameliorate the emotional toll of living through a time of socio-ecological crisis. In addition, some recordists claim that their field recordings provoke environmental reflection or inspire new environmental commitments – or both. Three exemplars – soundscapes featuring whales, birds, and a menagerie of creatures – guide a discussion on measuring field recordings' efficacy and impact. I argue that the robust link between nature connectedness (including soundscapes) and pro-environmental behaviour demonstrated in recent studies should be drawn upon more widely to bolster projects in fields like sound art, soundscape studies, and acoustic ecology. In linking art and activism, these trans-disciplinary collaborations reveal the emotional power of field recordings, the challenge of identifying qualitative results, and the promise of art-science alliances in stimulating urgent public conversations vis-à-vis environmental awareness and action. [ABSTRACT FROM AUTHOR]

Copyright of Nauki o Wychowaniu. Studia Interdyscyplinarne is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Creative and feminist geographers position listening as a way to build more responsive, ethical, and reciprocal relations to people and environments. In this paper I argue that for geographers to situate listening – in the broadest definition as 'sensing, attuning, and noticing' – as part of a creative approach to reparative practice, we must first understand how Anglo‐European modes of listening and interpreting the world through sound are shaped by 'sonic colonialities'. These are encultured ways of apprehending and narrating environments that are derived from the Eurocentric fetish for pre‐colonial natures, imagined as discrete, unmediated, and possessable. Given the now prolific interest of geographers in sonic practices, this paper argues for a closer and more critical attention to how listening and sound methods are inherently determined by sonic colonialities. Using the example of field recordings, I show how such practices create and perpetuate divisive ideas of nature and place within contemporary ecological sound art. For geographers to situate listening – in the broadest definition as 'sensing, attuning and noticing' – as part of a creative approach toward reparative practice, we must first understand how Anglo‐European modes of listening and interpreting the world through sound are shaped by 'sonic colonialities'. These are encultured ways of apprehending and narrating environments that are derived from the Eurocentric fetish for pre‐colonial natures, imagined as discrete, unmediated, and possessable. Using the example of field recordings, I show how such practices create and perpetuate divisive ideas of nature and place within contemporary ecological sound art. [ABSTRACT FROM AUTHOR]

El sonido en el campo de la arquitectura forense puede operar como herramienta de análisis y como herramienta de comunicación. En este ensayo se exploran estas posibilidades en algunas de las investigaciones realizadas por Forensic Architecture.

Mapping Sonic Futurities (MSF) combines sound art, listening practices, and ecological research to trace the present and future histories of ecological habitats. The project involves twenty-four-hour “sound vigils” in outdoor spaces and habitats with tenuous futures. During these retreats, the keeper of the vigil commits to being in one location for an entire day and night. For each of the twenty-four hours, they dedicate time to acts of ecologically engaged listening and sounding. This involves making field recordings of the space, performing music that responds to nearby sounds, and/or sitting in meditation with a focus on modes of listening outlined in a series of guided prompts.

Much insect sounding is beyond the limits of typical human hearing ability. This sonic separation is exacerbated by a socialized narrative of fear and avoidance of insects in many western societies. With the use of audio technologies to expand our senses, we can embrace opportunities to get to know sensory and communicative insect sound-worlds beyond our own. Ecological sound art – sound art that has an environmentalist intent – is a tangible and accessible means of listening to these sounds. In the series Built Hidden Soundscapes, the primary author (Schonberg) composes imagined soundscapes existing solely of sounds that are beyond the limits of typical human hearing ability. In this article we introduce two compositions in this series, Reserva Florestal Adolpho Ducke and Pipeline Road. These compositions offer a temporary expansion of our aural senses that can increase listeners' awareness of cryptic insect existences/ecologies. We suggest that this listening practice might prompt future auralization (sounding or hearing in the mind) of insect sound for the listener. [ABSTRACT FROM AUTHOR]

The knowledge of beekeeping flora of an area and of each plant's provision is crucial for beekeepers to plan their hive transfers when practicing nomadic beekeeping. Thus, in the present study, we evaluated the use of pollen traps as a means of identifying beekeeping plants in target areas, assessing their pollen percentage contributions and estimating their flowering seasons. The results were compared with the classical field observation method, widely used for flora recording. In total, 98.8% of the plants were recognized by using pollen traps and 89.4% from observations in the field, while for 73% there was found an agreement between population size (Wittig Scale) and Pollen Contribution Scale (PCS). The results showed that pollen traps can be helpful tools not only for defining the presence or absence of a beekeeping plant, but also for providing important information regarding the population size of a taxon of major beekeeping importance in the area surrounding the apiary. Finally, the estimation of the flowering season and its maximum point can be accurately predicted by using pollen traps on plants of beekeeping interest. [ABSTRACT FROM AUTHOR]

This paper explores the benefits and possibilities of using recorded sound as a tool for expressing the stories behind photographs for archival purposes through an ethnographic study of Lest We Forget (LWF), a grassroots initiative that documents and explores cultural memory pertaining to the United Arab Emirates. The goals of this paper are to further the dialogue about the value of transdisciplinary research toward the end of greater preservation and sustainability of cultural heritage; and to make an argument about the value of community members creatively responding to photographs, and archival materials from their own culture, using sound. What I have found is that creative response is a theory of knowledge that allows a community to retain ownership of their heritage and their imagination of the past, present, and future, and an emerging methodological process that, when used, ensures a living archive. [ABSTRACT FROM AUTHOR]

Listening to the forest is a streamed video essay in which you are invited to pay attention to audiovisual relations between human, landscape and moving image. Moving images are explored through a camera-based field recording practice that emphasises them as part of an ecological materiality, inseparable from what they depict and how they are seen.

The knowledge of beekeeping flora of an area and of each plant’s provision is crucial for beekeepers to plan their hive transfers when practicing nomadic beekeeping. Thus, in the present study, we evaluated the use of pollen traps as a means of identifying beekeeping plants in target areas, assessing their pollen percentage contributions and estimating their flowering seasons. The results were compared with the classical field observation method, widely used for flora recording. In total, 98.8% of the plants were recognized by using pollen traps and 89.4% from observations in the field, while for 73% there was found an agreement between population size (Wittig Scale) and Pollen Contribution Scale (PCS). The results showed that pollen traps can be helpful tools not only for defining the presence or absence of a beekeeping plant, but also for providing important information regarding the population size of a taxon of major beekeeping importance in the area surrounding the apiary. Finally, the estimation of the flowering season and its maximum point can be accurately predicted by using pollen traps on plants of beekeeping interest.

This article examines three dimensions of Chris Hoff and Sam Harnett's practices for producing, sharing and listening to audio in collective and social ways for The World According to Sound's Outside In: the sonic strategies and soundscape design used to engage communal and collective listening, how Outside In adapts and transforms traditional paradigms using the broadcast medium of the podcast to aesthetically engage with liveness and the corporeality of sound, and how the COVID-19 pandemic afforded space for 'unpopular' soundwork based on everyday aural architectures (e.g., field recordings, ambient music, experimental music based on everyday sounds, soundscape collages) that are popular, as in, of the community. Using varied examples drawn from The World According to Sound's soundwork, I illustrate a particular set of sonic strategies to imagine sonic space, listen relationally to sound events, and enact a sociality of collective listening. [ABSTRACT FROM AUTHOR]

This article outlines the specifically modern understanding of an anthroposcenic theatre by (among others) referring to August Wilhelm Iffland's concept of the "Menschendarsteller" and takes a closer look at Max Herrmann's article "Das theatralische Raumerlebnis". As I will show in my reading of Herrmann's now canonical text, the early discourse of theatre studies not only reproduces the anthroposcenic dispositive of theatre but also already hints at its limits and the breaking up of the closed and privileged scene of the Anthropos. The article tries to show how, by asking and focusing the question of space and theatrical transformation, while still focusing on the human actor, his actions and the mimetic relationship between actor and audience, Herrmann decenters and denaturalizes the anthropocentric, universalized, and naturalized framings of theatre. [ABSTRACT FROM AUTHOR]

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 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.

Reconceiving relations with the more-than-human is a central concern of scholarship in the Anthropocene. In documentary film, entanglements with the more-than-human are expressed through cinematic relationships with subjects such as bees, freeways, Antarctic science, abandoned military bunkers, and emergency firefighting operations. Several recent documentary films use their soundtracks to anchor these engagements. This paper examines the construction of these soundtracks through a comparison between documentary film and phonography. Phonography – broadly defined as creative practices of recording, editing, and listening to sonic environments – foregrounds the material/cultural processes of all sound recording by attending to specific uses of microphones and studio editing techniques. I situate these sonic practices in relation to the foundational poles of soundscape and objet sonore established by R. Murray Schafer and Pierre Schaeffer, work by contemporary practitioners, and recent theorizations in sound studies. Interweaving an account of recent documentary soundtracks with theories and practices of phonography highlights the conceptual implications of specific sound recording techniques and attends to the ethics of sound recording practices. These sonic practices pose new questions about the work performed through documentary film soundtracks' engagements with the more-than-human. [ABSTRACT FROM AUTHOR]

Keramat Ali, a colonial soldier from Mymensingh in Bengal, was among the hundreds of people whose voices were recorded by the Prussian linguist Wilhelm Doegen in the Halfmoon POW Camp in Wunsdorf, Germany, during 1917–18. Some years later, Sawabali, an oilman from Sylhet, was recorded in 1934 by the Dutch ethnomusicologist Arnold Bake on board a ship sailing to Europe. Closely listening to these archival recordings in conjunction with one another, this essay considers the dual possibility of writing about sound and silence as historical evidence of empire while also writing microhistories of the worlds held within the recordings as worlds unto themselves, independent of the global and the imperial. [ABSTRACT FROM AUTHOR]

This article examines how sound—as a medium, method, and modality—attunes educational ethnographers to writing the "field" in new ways. In particular, the authors ask: How might cultivating practices of writing the field recording reorient the field note as an ethnographic object of inquiry? Examining the field recording as a representational, experimental, and pedagogical resource for prolonging encounters, this article reframes inquiry to disrupt what is traditionally read as experience in writing ethnographic research. [ABSTRACT FROM AUTHOR]

Copyright of Japanese Journal of Cultural Anthropology / Bunka Jinruigaku is the property of Japanese Society of Cultural Anthropology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Wojciech Sternak's Field recording and documentarism in photography is an attempt to show similarities and differences between both media. The author reveals common historical anthropological and artistic backgrounds of phonography and photography. He accents the gravity of automatic recording of reality and restriction in representation due to substantial features of media. That leads to the statement of importance of following crossover research by assimilation of concepts from the other medium theory apparatus [ABSTRACT FROM AUTHOR]

Background: Studying synaptic plasticity in the rat hippocampus slice is a well‐established way to analyze cellular mechanisms related to learning and memory. Different modes of recording can be used, such as extracellular field excitatory post‐synaptic potential (EPSP) and diverse patch‐clamp methods. However, most studies using these methods have examined only up to the juvenile stage of brain maturation, which is known to terminate during late adolescence/early adulthood. Moreover, several animal models of human diseases have been developed at this late stage of brain development. To study the vulnerability of adolescent rat to the cognitive impairment of alcohol, we developed a model of binge‐like exposure in which ethanol selectively abolishes low frequency stimulation (LFS)‐induced, field EPSP long‐term depression (LTD) in the rat hippocampus slice. Methods: In the present study, we sought to use whole‐cell patch‐clamp recording in the voltage‐clamp mode to further investigate the mechanisms involved in the abolition of LFS‐induced LTD in our model of binge‐like exposure in adolescent rat hippocampus slices. In addition, we investigated LFS‐induced NMDAR‐LTD and mGluR‐LTD at different ages and changed several parameters to improve the recordings. Results: Using patch‐clamp recording, LFS‐induced NMDAR‐LTD and mGluR‐LTD could be measured until 4 weeks of age, but not in older animals. Similarly, chemical mGluR‐LTD and a combined LFS‐LTD involving both N‐Methyl‐D‐Aspartate Receptor (NMDAR) and mGluR were not measured in older animals. The absence of LFS‐LTD was not due to the loss of a diffusible intracellular agent nor the voltage mode of recording or intracellular blockade of either sodium or potassium currents. In contrast to voltage‐clamp recordings, LFS‐induced LTD tested with field recordings was measured at all ages and the effects of EtOH were visible in all cases. Conclusions: We concluded that whole‐cell patch‐clamp recordings are not suitable for studying synaptic LFS‐induced LTD in rats older than 4 weeks of age and therefore cannot be used to explore electrophysiological disturbances, such as those induced by alcohol binge drinking during adolescence, which constitutes a late period of brain maturation. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

Copyright of Avant is the property of Centre for Philosophical Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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. [ABSTRACT FROM AUTHOR]

This essay aims to demonstrate the work of Bill Fontana in the realm of sound art practice; both in regards to his considerable contribution to the art form, and as a pioneer of the use of sonic transmission technology. With regard to the technology and the changes between the configuration of his original historical works and the technological development, three fields of his activity are investigated: recording, real time streaming, diffusion systems. The recording technique will be treated to show the coherence in his artistic practice, the real time streaming will explain his innovative approach to sound technology, the diffusion systems will be described in relation to his technical choices and to his large scale works. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]