Multimodal Scholarship in World Soundscape Project Composition: Toward a Different Media-Theoretical Legacy (Or: The WSP as OG DH)

The introduction lays out the basic theoretical framework for acoustic profiling, a method for listening to films by way of acoustic ecology (and vice versa). On the one hand, a sound ecology of the cinema entails the application of acoustic ecology’s prescribed listening practices to film sound studies. On the other hand, a new way of thinking about acoustic ecology is born of film studies, a way to consider acoustic ecology’s practice through film studies’ long history of dealing with problems of fidelity and realism through recording technologies. This intersection of fields offers a necessary critical discourse for handling the challenges inherent in navigating acoustic ecology’s media practices. The four dimensions of acoustic ecology are described as documentation, analysis, prescription, and composition, and it is explained how these can intersect with a variety of standard concepts in film sound theory. In turn, this introduction explains how the films analyzed across the book will demonstrate, enact, and challenge these dimensions through their mediality, a mode of reflexivity that emphasizes the role of media technologies in engaging with, rather than acting as barrier to, real-world space. The films expose the myths inherent to the discourse of fidelity and invite audiences to reflect upon their approaches to the audiovisual construction of space so they may carry this reflection to the world beyond the frame of the screen and its surrounding walls. The intersection of acoustic ecology and film sound studies can make films work as both extensions of acoustic ecology and means for critically rethinking the field.

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The sonic strategies and technologies of listening alone together in The World According to Sound’s Outside In: A Communal Listening Series

Galloway

2022

Radio Journal:International Studies in Broadcast &Amp; Audio Media

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This article examines three dimensions of Chris Hoff and Sam Harnett’s practices for producing, sharing and listening to audio in collective and social ways for The World According to Sound’s Outside In: the sonic strategies and soundscape design used to engage communal and collective listening, how Outside In adapts and transforms traditional paradigms using the broadcast medium of the podcast to aesthetically engage with liveness and the corporeality of sound, and how the COVID-19 pandemic afforded space for ‘unpopular’ soundwork based on everyday aural architectures (e.g., field recordings, ambient music, experimental music based on everyday sounds, soundscape collages) that are popular, as in, of the community. Using varied examples drawn from The World According to Sound’s soundwork, I illustrate a particular set of sonic strategies to imagine sonic space, listen relationally to sound events, and enact a sociality of collective listening.

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Multimodal Scholarship in World Soundscape Project Composition: Toward a Different Media-Theoretical Legacy (Or: The WSP as OG DH)

Cited by 4 publications

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The sound of the future: listening as data and the politics of soundscape assessment

The sound of the future: listening as data and the politics of soundscape assessment

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The sonic strategies and technologies of listening alone together in The World According to Sound’s Outside In: A Communal Listening Series

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