Research Catalogue

an international database for artistic research

• 27. Issue 27 Issue 27

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  STRAßENMUSIK AND EARDVERTS: PUBLIC LISTENING INTERVENTIONS AS AN ARTISTIC PRACTICE FOR ENCOURAGING AURAL AWARENESS IN AN EVERYDAY CONTEXT (2018) author(s): Florian Hollerweger published in: Journal of Sonic Studies
  This article discusses public listening interventions as an artistic research method to encourage and study aural awareness in everyday environments. I will first provide an overview of aestheticized listening practices in the sonic arts. This will be followed by a discussion of my public listening interventions Straßenmusik and EaRdverts, which I will situate within this wider context of artistic practice. From this perspective, I will adopt a sound artist’s perspective on the questions of how to study sound and enable a discourse on sonic experience. I will suggest possible contributions that sound art makes to this process.
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  RESOUNDING SCIENCE: A SONIC ETHNOGRAPHY OF AN URBAN FIFTH GRADE CLASSROOM (2018) author(s): Walter Gershon published in: Journal of Sonic Studies
  This sonic ethnography represents two years in an ongoing study in which urban elementary and middle grades students wrote songs about the science content they learned. Originally designed to examine whether processes of songwriting might help bridge race and gender gaps in science education for city kids, over time, this project has become what participating teachers and I refer to as “listening to the sounds of science,” a change that underscores the variety of sounds, ideas and ideals, and ways of knowing and being of the daily life of classrooms. Specifically, this piece focuses on two years in an urban fifth grade classroom. Here, the text supports the sounded portion of the piece, providing contextual information about process and participants. As such, this piece provides an opportunity to listen to how often marginalized students make sense, understandings, and experiences that are at once epistemological, ontological, and sensorial.
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  AUDITORY SITUATIONS: NOTES FROM NOWHERE (2018) author(s): Budhaditya Chattopadhyay published in: Journal of Sonic Studies
  As an increasingly migratory being, a wandering listener interacts with various places he/she traverses in fleeting and transitory ways, considering them as spatio-temporally evolving but gradually disorienting auditory situations. Instead of locating the source identities of sounds, the listener may relate to these situations through thought processes generated by means of a subjective perception of the various sonic phenomena occurring at these places. This essay describes an on-going project, “Doors of Nothingness,” that frames and textualizes streams of thought triggered by presence in certain immersive but evanescent auditory situations. Essentially personal and contemplative in nature, the project refers to the pervasive interaction that takes place between the constantly migrating man and his contextual sonic environment beyond sound’s immediately accessible meaning. In the context of describing the project and its methodology, this essay intends to develop a discourse on sound’s problematic relationship to locating its source, arguing that situational sonic phenomena activate thought processes that transcend mere epistemic comprehension of the source identity and involve subjectivity, contemplation, poetics, and the mood of the nomadic listener.
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  ON SOUNDSCAPES, PHONOGRAPHY, AND ENVIRONMENTAL SOUND ART (2018) author(s): Marinos Koutsomichalis published in: Journal of Sonic Studies
  This paper proposes a pragmatic response to the broad philosophical question of what constitutes a soundscape and in what ways it might resonate through consciousness and perception. It also discusses phonography, criticizes its incapability to capture the essence of environmental sound, and explains how a series of artistic practices emerged and established themselves within the non-linearities of the recording-reproduction paradigm. Further, it elaborates on how sound art inaugurates new ways of perceiving, thinking about and representing soundscapes, accordingly. In this respect, several examples are discussed, including a selection of works by the author.
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  WINDOW - AN UNDECIDED SOUND ESSAY (2018) author(s): Katharine Norman published in: Journal of Sonic Studies
  Window is an experiment in writing about sound, listening and environment, in a manner that deliberately subverts any sense of direction, focus or conclusion. But it is also a work of art—both scholarly and “playful”, born of indecision and from having no desire to go anywhere special. There was no preordained subject of study. Instead, the subject of study revealed itself during the making of the piece as being ordinary experience - an activity embedded in individuals rather than things - gradually explored through deliberate indirection. These notes are written to offer some extra insights into how, and why, I made this piece.
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  FROM EPISTEMOLOGY TO CREATIVITY: A PERSONAL VIEW (2018) author(s): Barry Truax published in: Journal of Sonic Studies
  An epistemological model of sound is proposed involving information derived from the inner structure of sound as interpreted by the listener’s contextual knowledge. In the author’s soundscape compositions, the sound material is elaborated using contemporary digital signal processing techniques, while maintaining listener recognizability, and the structure of the work and its narrative are guided by the composer’s contextual knowledge of the real world.
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