Sonic Autoethnographies: Personal listening as compositional context

Findlay-Walsh, Iain

doi:10.1017/s1355771817000371

Cited by 8 publications

(3 citation statements)

References 11 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…As has been noted previously (Anderson and Rennie 2016; Carlyle and Lane 2013; Drever 2002, 2017; Findlay-Walsh 2018; Martin 2018), the practice of field recording has the capacity to connect the auditory experiences of a recordist with those of a subsequent listener. While field recording might be broadly understood as a means of documenting and re-presenting environment, a range of phonographic methods and practices have been developed since the mid-twentieth century as ways of exploring relationships between recorded sound, environment and listener.…”

Section: First-person Field Recordingmentioning

confidence: 84%

“…Some approaches may also involve the inclusion of explicit first-person narrative commentary or vocalised references to the situation and/or act of recording. The recordist’s documented auditory perspective more or less acts as a mediated ‘point of ear’ through which subsequent listeners can attend to the recorded environment and events, similarly to the visual vantage point in a point-of-view (POV) video, or a ‘selfie’ (Findlay-Walsh 2018). Such recordings are generally presented as self-narratives – that is, with listener perspective, environment, movement and change providing much of the identifiable content of recordings and works, and with these aspects often being specifically highlighted through compositional and presentational approaches, as well as in piece or track titles.…”

Section: First-person Field Recordingmentioning

confidence: 99%

See 1 more Smart Citation

Hearing How It Feels to Listen: Perception, embodiment and first-person field recording

Findlay-Walsh

2019

Org. Sound

Self Cite

View full text Add to dashboard Cite

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.

show abstract

Section: First-person Field Recordingmentioning

confidence: 84%

Section: First-person Field Recordingmentioning

confidence: 99%

Hearing How It Feels to Listen: Perception, embodiment and first-person field recording

Findlay-Walsh

2019

Org. Sound

Self Cite

View full text Add to dashboard Cite

show abstract

“…Ethnographic researchers have studied sonic elements such as noise (Hall et al, 2008), soundscapes (Findlay-Walsh, 2018;Rosenblum, 2013), and music or sound art, often focusing on musical behaviour rather than the musical context in which behaviours are witnessed (Feld, 1984;Lacey, 2016;Lomax, 1976). Drawing on this research, Alonso-Cambrón (2005) refers to the imaginary sounds that accompany our realities and are therefore part of our contexts, our ways of life and, consequently, of our identities.…”

Section: The Study Of Sounds In Ethnographic Researchmentioning

confidence: 99%

Changes in the social fabric of victims of the armed conflict in Colombia based on an analysis of their sound environments

Rodríguez-Sánchez

Cabedo–Mas

2021

Musicae Scientiae

View full text Add to dashboard Cite

The objective of this study was to analyse the changes in social fabric caused by the armed conflict in Colombia among people who had been the victims of forced displacement and who, when arriving in the new places, participate in a musical-social programme. The study was conducted using testimonies from interviews and in the form of sound postcards, an ethnographic research tool. Twenty-one interviews with 14 interviewees in the Music for Reconciliation (MFR) programme of the Batuta National Foundation (BNF) and their families were analysed, and 70 sound postcards, revealing the meaning of interviewees’ sonic landscapes, or soundscapes, in their everyday lives. Their sound environments were found to have changed significantly; having been rural before forced displacement they became urban, and there were also changes in interviewees’ social bonds with people and relationships to objects in the environment. The study reveals a significant change in their sound landscapes before and after forced displacement and analyses the impact of these sonic landscapes and their meaning in the everyday lives of the participants. Finally, the use of sound postcards highlights MFR music centres as places where displaced people can be helped to form new bonds. The sound environment of these music centres give meaning to music making, generating positive feelings and providing participants with an emotional support network.

show abstract

Unruly Academic Women: Laughter, Affect, and Resistance

Lipton

2020

Academic Women in Neoliberal Times

View full text Add to dashboard Cite

Sonic Autoethnographies: Personal listening as compositional context

Cited by 8 publications

References 11 publications

Hearing How It Feels to Listen: Perception, embodiment and first-person field recording

Hearing How It Feels to Listen: Perception, embodiment and first-person field recording

Changes in the social fabric of victims of the armed conflict in Colombia based on an analysis of their sound environments

Unruly Academic Women: Laughter, Affect, and Resistance

Contact Info

Product

Resources

About