Abstract
Recently, much attention has been paid to the many different forms of collaborative or participatory practice both within, and out with the academy; from practice-based research to theoretical contributions and artistic experimentations. In terms of acoustemology as described by Steven Feld, the creative processes of collaborative soundscaping practices, developed as dialogic editing, produce theories of sound as knowledge production. Within this trend of doing anthropology in sound, sound art works aim to reconnect communities to the environment and indicate the emergence and presence of an ecological and aesthetic co-evolution. Such projects, in fostering interdisciplinary approaches, allow the development of hybrid types of knowledge through dialogic exchanges, and engage multiple agents by developing audile techniques. They also raise interesting questions within collaborative and interdisciplinary creative practice, in relation to the critical examination of the instrumentality of collaboration. By focusing on field recordings and soundscape compositions this paper discusses ecological sound art works that use collaborative creativity, new technologies, and phenomenological listening, to produce dialogic and collaborative forms of epistemic and material equity. These sound art works are the result of complex expressions of creative processes that involve multiple agents, while successfully voice their authorial presence. The interdisciplinary, collaborative and open-ended nature of these projects brings forward the social and political dimension of sound and listening, which could figure in more collaborative forms of knowledge production and inspire climate action.
Highlights
When it comes to Ecology and talking about the human environment, most people's thinking focuses on environmental issues and our relationship with the environment, and nature
Felix Guattari's essay The Three Ecologies (2005) has radically expanded our understanding of what ecology, environmental awareness and action is. It looks at the role of humans and of social ecology in the world and identifies three distinct areas in which ecological thinking is applied: the environment, social relationships, and human subjectivity; three interrelated spectra of the human experience. In taking this thinking further, this paper aims to turn our ears to the sounds of nature, as well as the sounds of our society, and discuss sound art works that investigate whether there is another environment of our own thinking, which could figure in more collaborative forms of knowledge production and inspire climate action
Musical, and ontological register for sound art, acoustic ecology increased its capacity for an auditory understanding of subjectivity (LaBelle 2006)
Summary
When it comes to Ecology and talking about the human environment, most people's thinking focuses on environmental issues and our relationship with the environment, and nature. Felix Guattari's essay The Three Ecologies (2005) has radically expanded our understanding of what ecology, environmental awareness and action is It looks at the role of humans and of social ecology in the world and identifies three distinct areas in which ecological thinking is applied: the environment, social relationships, and human subjectivity; three interrelated spectra of the human experience. Among auditory culture theorists and sonic philosophers, there is a tendency to evade the tradition of speculative realism around sound; moving away from the view of sound as an object in itself they propose a move towards aural specificity arguing for an analytical agency on sound that enables them to engage with issues of locality and specificity (Lima 2018) Within this trend, the notion of the soundscape and the field of acoustic ecology follow suit with research in the environmental humanities. Acoustic Ecology elevated sound to the foreground of musical praxis, expanding its potential for aesthetic value as material for music-making
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