With similarities to the emergence in fifteenth-century landscape paintings, to poems by the Transcendentalists and to the more recent 1960s land art movement, environmental sonic art is always context-based and conjointly performs as environmental activism with aims to break down the nature/culture dualism. Nature, however, is both a material object and a socially constructed metaphor that is infinitely interpretable and ideologically malleable based on one’s values and biases. Does the environmental sonic artist acknowledge this? The theoretical framework of this article extends acoustic ecology, first theorised by R. Murray Schafer, to include environmental history and cultural theory – ultimately problematising definitions of ‘nature’ and ‘natural.’ Through this framework, the author critiques the way composer John Luther Adams represents his environmental sonic art. This analysis will illuminate a dialogue that asks, ‘What is self-critical environmental sonic art?’

中文翻译：

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出售自然以拯救它：接近自我批评的环境声音艺术

与 15 世纪的山水画、超验主义者的诗歌以及 1960 年代更近的大地艺术运动相似，环境声音艺术始终以语境为基础，并作为环境行动主义共同发挥作用，旨在打破自然/文化二元论。然而，自然既是一种物质对象，也是一种社会建构的隐喻，可以根据一个人的价值观和偏见无限地解释和意识形态上的可塑性。环境声波艺术家是否承认这一点？本文的理论框架扩展了最初由 R. Murray Schafer 提出理论的声学生态学，将环境历史和文化理论包括在内——最终将“自然”和“自然”的定义问题化。通过这个框架，作者批评作曲家约翰·路德·亚当斯代表他的环境声音艺术的方式。这种分析将阐明一个对话，即“什么是自我批评的环境声音艺术？”