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Hearing How It Feels to Listen: Perception, embodiment and first-person field recording
Organised Sound Pub Date : 2019-05-30 , DOI: 10.1017/s1355771819000049
Iain Findlay-Walsh

This article explores recent theories of listening, perception and embodiment, including those by Mark Grimshaw and Tom Garner, Salomé Voegelin, and Eric Clarke, as well as consequences and possibilities arising from them in relation to field recording and soundscape art practice. These theories of listening propose auditory perception as an embodied process of engaging with and understanding lived environment. Such phenomenological listening is understood as a relational engagement with the world in motion, as movement and change, which grants access to the listener’s emerging presence, agency and place in the world. Such ideas on listening have developed concurrently with new approaches to making and presenting field recordings, with a focus on developing phonographic methods for capturing and presenting the recordist’s embodied auditory perspective. In the present study, ‘first-person’ field recording is defined as both method and culturally significant material whereby a single recordist carries, wears or remains present with a microphone, consciously and reflexively documenting their personal listening encounters. This article examines the practice of first-person field recording and considers its specific applications in a range of sound art and soundscape art examples, including work by Gabi Losoncy, Graham Lambkin, Christopher Delaurenti and Klaysstarr (the author). In the examination of these methods and works, first-person field recording is considered as a means of capturing the proximate auditory space of the recordist as a mediated ‘point of ear’, which may be embodied, inhabited, and listened through by a subsequent listener. The article concludes with a brief summary of the discussion before some closing thoughts on recording, listening and the field, on field recording as practice-research and on potential connections with other fields in which the production of virtual environments is a key focus.

中文翻译:

聆听聆听的感觉:感知、体现和第一人称现场录音

本文探讨了最近关于聆听、感知和体现的理论,包括 Mark Grimshaw 和 Tom Garner、Salomé Voegelin 和 Eric Clarke 的理论,以及由此产生的与现场录音和音景艺术实践相关的后果和可能性。这些听力理论提出听觉感知是参与和理解生活环境的具体过程。这种现象学聆听被理解为与运动中的世界的关系参与,作为运动和变化,它使听众能够进入世界上新兴的存在、代理和位置。这种关于聆听的想法与制作和呈现现场录音的新方法同时发展,专注于开发录音方法来捕捉和呈现录音师的具体听觉视角。在本研究中,“第一人称”现场录音被定义为一种方法和具有文化意义的材料,其中一个录音师携带、佩戴或保持在场,有意识地和反射地记录他们个人的聆听经历。本文考察了第一人称现场录音的实践,并考虑了它在一系列声音艺术和音景艺术示例中的具体应用,包括 Gabi Losoncy、Graham Lambkin、Christopher Delaurenti 和 Klaysstarr(作者)的作品。在检查这些方法和作品时,第一人称现场录音被认为是一种将录音师的邻近听觉空间捕获为中介的“耳点”的手段,它可以被后续的听众体现、居住和聆听。本文最后对讨论进行了简要总结,然后对录音、听力和现场、现场录音作为实践研究以及与其他领域的潜在联系进行了总结,其中虚拟环境的生产是重点。
更新日期:2019-05-30
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