Autumn leaves sound and the environment in artistic practice pdf

This is a way of thinking about the perception of sound as a means for classifying difference and, following on from this, of the classification of sounds that are significant because they are distinguishable from noise.

The International Encyclopedia of Anthropology. Edited by Hilary Callan. Needham is interested in the sounds of drumming in ritual contexts of African rites-of-passage ceremonies and in the relationship between the affective impact of percussion and the logical structure of change in social categories as a partici- pant undergoes the ceremony. Jackson similarly addresses the relationship of sounds to social structure and especially to ritual structure, classifying noises into categories of the natural and those made by humans and the sounds of ritual into the rhythmical and the disordered.

While both Needham and Jackson find that there is an empirical connection between the affects of percussive rhythm, ritual structure, and social categories, what is also significant about their work is that it shifts attention from the sounds of words to a broader concern with the meaning and purpose of human and natural sounds.

This is an area of research that intersects with what has become known as sound studies, which asks what sound means and describes and analyzes the historical con- struction, technological mediation, and political—economic relevance of ideas about sound and noise. For Attali, all music and any organization of sounds is a tool for the creation of a community, while noise manifests its opposite: subversion and dystopia.

A similarly broad-ranging ideological thesis about which sounds matter and which do not and how sounds reflect a relationship to place, is expressed in R. This work, which draws on communication the- ory rather than Marxist historiography and makes an important connection to ecology through the concept of soundscape, makes noise the villain not because of its role in the oppressive exercise of economic and political power but because it gets in the way of communication.

As a model for the anthropological study of sound, the concept of soundscape has also been criticized on philosophical grounds by Tim Ingold. What about ethnographies that are tape recordings? These questions were posed as part of an exploration of the poetic space between language and music so as to account for what people hear every day and as a proposition for new forms of ethnographic documentation. As such, the work reflected disciplinary shifts from the study of music and language in culture, society, and history to the study of music and language as culture, society, and history, creating the possibility for a performative, poetic anthropology Feld and Fox This research greatly enhanced the understanding of the performativity of speech acts not simply as the product of their referential content or their context of use but as the product of their poetic dimensions.

The metaphor is a statement of style referring to the layered sequencing of sound densities as they are made, heard, and responded to in this rainforest environment. It foregrounds listening and the metaphoric source of Kaluli musicality and sociality in ways that resonate with research carried out elsewhere in Papua Guinea by Alfred Gell and Roy Wagner.

This phonological relation points to how the forest environment reorganizes sensibility, creating a preference for the auditory over the visual sense, emphasizing sentiment and sympathy. It is this material dimension of sound as an affective charge that articulates the links between social concepts, place, and emotional feeling that shall be explored in the next section.

Feld has followed up on this work by making recordings of bell sounds throughout Europe into a series of CDs that show how they are a material chronotope of the signif- icance of the parishes and municipalities within which their bell peals can be heard. He shows how the sound of animal bells makes the features of the landscape within which they are herded a felt k presence and stands for the continuity of the flock over time. This field of study approaches hearing, together with the other senses, as ordered in different ways across cultures, so that any discussion of sound should start from the quest for a more sensitized ethnographic ear to further the analysis of the cultural mean- ings of the senses and the sensory order of each society.

This can lead to observations like this by Classen, quoting the case of the Suya of the Brazilian Matto Grosso, who deem keen hearing to be the mark of the fully socialised individual. Sight, in fact, is considered by the Suya to be an antisocial sense, cultivated only by witches. Classen , 9 This and other studies of the metaphoric language of the senses have provided a wealth of detail about how the sense of hearing may be symbolically related to behavior and forms of sociality, but it does not address the idea that there may be concepts for explaining how sound works through the materials of the body as just another form of matter.

Transduction is deployed as a metaphor for the cognitive, affec- tive, and social effects of sound and aims to explain how technology changes perception and how bodies become entwined with machines in immersive soundscapes in the world of oceanographic research.

A study of auscultation as a learned listening practice, it shores up the authority of established doctors and of the stethoscope as a technology, which is gradually being superseded as a source of definitive knowledge by clinical tests.

Such a notion of engineering is explic- itly worked through in studies of various music production studios where technicians, musicians, and producers must deal with potentially conflicting ideas about cultural legitimacy, commercial expediency, the aesthetics of authenticity, ethnographic truth, and acoustical reality Porcello and Green The contingency of sound and meaning on technological mediation is explored in a k number of ethnographic studies that deal with radio listening and the interconnection k between voice and political and personal agency.

Meeting place The mobile methods of augmented listening through the mediation of different technologies that Bull has investigated can be approached as not only journeys inwards into the realization of self and subjectivity in the city but also a way of extend- ing the senses outwards and as a means of meeting place.

Page 8 8 S OU ND , A NT HR OP OL OGY OF a critical as well as an artistic tool has been conceived as doing in projects that combine practices of walking drawn from the situationist idea of a derive, with either carefully produced audio guides worn by the walker or a real-time attention to sonic events actively occurring around them as they move along a directed route.

The differences in these types of soundwalk reflect again the critique that Ingold has made of sounds that are artificially composed by technological means to represent a sonic environment and those that are composed phenomenologically by the listener themselves situated within the environment itself.

It is a critique that also draws attention to a question of mishearing, something that the cultural historian, theorist of design, and sound artist Paul Carter has talked about as a fundamental component of cultural understanding in his works on the linguistic encounters between Australian Aboriginal peoples and European settlers.

Carter has represented these encounters through public artworks that use sound-designed gallery installations to re-create the ambiguities and ironies of historical situations of cultural encounter.

In this work he has been investigating the modeling of sense perception that underpins the measuring systems of environmental science used to establish these sonic effects and through a collaborative process of making sound recordings, shooting film, and sharing these with those affected, considering how the sounds of overflying aircraft are k understood as part of a contested sense of place.

In philosophical and political terms k this research raises ontological issues about the nature of sound as the vibration of matter and its transduction into visual forms of sound mapping and measurements. In cultural and historical terms it intersects with a body of work in sound art that involves collaborations across art, anthropology, and scientific domains; is directed toward public as well as academic audiences; and can be regarded as sonic ethnography.

Wouter marked it as to-read Nov 13, Katie marked it as to-read Apr 09, Paul Vittay marked it as to-read Jul 07, Chris marked it as to-read Nov 14, MorsJusti marked it as to-read Apr 08, There are no discussion topics on this book yet. Be the first to start one ». About Angus Carlyle.

Angus Carlyle. Angus Carlyle has an educational background within the humanities, studying law as an undergraduate, earning a masters in political theory, focusing his doctorate on the conditions of vocalised political exchange. His subsequent theoretical trajectories engaged with cyberculture, photography and architecture then shifted towards its current pre-occupation with the sensory inhabitations of environme Angus Carlyle has an educational background within the humanities, studying law as an undergraduate, earning a masters in political theory, focusing his doctorate on the conditions of vocalised political exchange.

His subsequent theoretical trajectories engaged with cyberculture, photography and architecture then shifted towards its current pre-occupation with the sensory inhabitations of environments and their representations, with a particular emphasis on sound. A significant dimension of this exploration has been conducted through such creative practices as experimental textual production and field recording, with the texts and recordings contributing to collaborative and solitary projects.

For over a decade, he has worked with anthropologist Rupert Cox, co-creating films, installations and compositions — alongside academic texts - that seek to address the sonic experiences of living under civilian and military flight paths in situations where the echoes of history are palpable.

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