Archive, Sound and Landscape in Richard Skelton's<i>Landings Sequence</i>

Hudson, Martyn

doi:10.1179/1466203515z.00000000041

Cited by 4 publications

(8 citation statements)

References 18 publications

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“…We have developed here the possibilities of thinking about an anthropology of sonorous objects: considering sonorities as distributed artefacts of knowledge, accessible to methodological discipline, but whose substance and qualities determine the kinds of narratives and interpretations that we would want to extract from them in their potential descriptions of other places, social relations and ‘dead worlds’. The data journeys of sonorous objects in sound art display an affinity with musical composition (Hudson 2014b, 2015) but the notations and practice of a specifically musical description of ‘worlds’ raise profound new directions for an anthropology of sound data. New scholarly descriptions and ethnographies of music have to address representation and extraterritoriality but also what Adorno calls the ‘force of gravity of extant forms’ and the power of musical history and tradition (Adorno 1989: 93).…”

Section: Resultsmentioning

confidence: 99%

“…This becomes problematic when collected and generated sounds become part of specifically musical forms of composition. The interface between organised, distributed sound assemblages and the organised sound of music is one of collision and discomfort, particularly when field recordings are entwined, as in the work of Richard Skelton (Hudson 2015), with processes rooted in the European chamber music traditions and in ambient music and electronica. Shaw’s work is a set of processes.…”

Section: Sonorous Objects and Worldsmentioning

confidence: 99%

“…Hudson has noted the use of sonorous objects in musical rather than sound art composition elsewhere and their representation of the world they are collected from (Hudson 2015). This article argues that by understanding 'knowledge-objects' as the products of 'dead worlds', before composition we can begin to think about questions of knowledge, representation and data without reducing the aural artefact to an exemplar of natural or social relations.…”

Section: Introductionmentioning

confidence: 95%

“…Attempts to understand the meaning and signification of sounds are problematic (Hudson 2014a, 2014b) particularly when the relationship of sound art to both music and visual art is complicated by issues of composition and curation (Licht 2007) and of the classification and history of organised sound (Landy 2007: 5). Hudson has noted the use of sonorous objects in musical rather than sound art composition elsewhere and their representation of the world they are collected from (Hudson 2015). This article argues that by understanding ‘knowledge-objects’ as the products of ‘dead worlds’, before composition we can begin to think about questions of knowledge, representation and data without reducing the aural artefact to an exemplar of natural or social relations.…”

Section: Introductionmentioning

confidence: 99%

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Dead Logics and Worlds: Sound art and sonorous objects

Hudson

Shaw

2015

Org. Sound

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From the early experimentation with specific sounds in musique concrète (Palombini 1999) to the ‘anecdotal’ music of Luc Ferrari (1996) and the ecological sound activism of Hildegard Westerkamp (2002), the collecting, composition and recomposition of sonorous objects has been central to sound practice. Some sound art has privileged a relationship with visual arts and the structuring of objects in curated spaces (Licht 2007), others with the sound worlds beyond the exhibition (Schafer 1994). By examining a specific sound art installation, Sound and Seclusion by Tim Shaw, this article reworks the idea of sonorous objects as artefacts displaying different kinds of representations, knowledges or data. This question of sonorous ‘knowledge-objects’ is particularly important as ‘collected sounds’ become incorporated into compositions away from their, often remote, spatio-temporal origin out there in the landscape. This article raises three areas for discussion. First, what can sonorous objects tell us about the pre-compositional world (Impett 2007)? Second, in what ways can we understand sonorous objects as they are reworked in compositions which re-narrate them? Third, how can we understand sonorous objects as traces and pieces of data as well as aesthetic productions? The article concludes with a case for reworking the very idea of a sonorous object in sound practices as a product of dead logics and dead worlds as it emerges in new ensembles of composition away from its origin.

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Section: Resultsmentioning

confidence: 99%

Section: Sonorous Objects and Worldsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 95%

Section: Introductionmentioning

confidence: 99%

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Dead Logics and Worlds: Sound art and sonorous objects

Hudson

Shaw

2015

Org. Sound

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“…The ethnographic framework of this research developed as part of wider studies of social formations by the authors which tried to combine large-scale social processes with intimate case studies. This has been a distinctive ethnographic project which has often tried to provide a historical ethnography of objects, machines, social beings broadly situated within a phenomenological approach informed by critical theory (Hudson 2015(Hudson , 2016(Hudson , 2017a(Hudson , 2017b(Hudson , 2018(Hudson , 2019Donkin 2016Donkin , 2017. Central to that ethnographic project is the idea of the experimental space as something which can be observed in its use by social beings.…”

Section: Methodsmentioning

confidence: 99%

TESTT Space: groundwork and experiment in a complex arts organisation

Hudson

Donkin

2019

AAM

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Purpose The purpose of this paper is to document and describe an omni-disciplinary ethnography of a complex arts and cultural regeneration organisation in Durham (TESTT Space). The organization and its art spaces are hybrid combination tools explicitly designed to test and experiment with ideas, social forms, human interactions and arts practice. Its ground or practice is a repurposed meanwhile space in a city centre embedded in a unique cultural landscape of local communities, a University and a World Heritage Site. The research attempted to understand its groundwork, its interactions and its civic mission and aspirations in a time of radical change and rupture. Design/methodology/approach The authors assumed an ethnographic approach, working with and within this organisation for a year, thinking of the research as embedded, intimate research and committed to social change. It was a work of co-production – working with studio-holders, curators, artists and facilitators using a range of triangulated qualitative research methods. These include structured interviews, auto-ethnography, ethnography of spaces, arts-led research, art as research and research as art. Findings TESTT Space has allowed both the retention of artists in the city and the propulsion of artists into the world. It has offered different ways of engaging in the complex lives of artists and curators, allowing them to test aesthetics and try out new social models. It has thought up its own network as a thinking practice, has developed its own politics, civics and imagined a set of new futures. Originality/value The paper documents interactions and aspirations, describing the lived phenomenological experience of being in this experimental space.

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Landings: The moor and the ecological therapeutic practice of Richard Skelton

Ingham

2024

Area

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Richard Skelton's 2009 recording, Landings, is recognised as being intimately connected with landscape and the experience of place. This paper explores the use of therapeutic practice within the creation of the recording of Landings. Building on the work of cultural geographers who have emphasised the cultural and symbolic significance of landscape, as well as incorporating the work of geographers who have studied sound and music, the paper develops a non‐representational analysis, emphasising the interplay of human experiences and therapeutic practice. The paper explores how Skelton's music transcends a simple representation of the moorland landscape. It shows how the music, created through Skelton's therapeutic practice, channels the essence of the landscape. Skelton acknowledges the healing nature of this creative process. It offers catharsis and solace while, at the same time, connecting to living systems and exhibiting an ecological principle. By exploring the music created by Skelton's therapeutic practice and its profound alignment with nature, Landings offers valuable insights for geographers and beyond.

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Archive, Sound and Landscape in Richard Skelton'sLandings Sequence

Cited by 4 publications

References 18 publications

Dead Logics and Worlds: Sound art and sonorous objects

Dead Logics and Worlds: Sound art and sonorous objects

TESTT Space: groundwork and experiment in a complex arts organisation

Landings: The moor and the ecological therapeutic practice of Richard Skelton

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