Hostname: page-component-77c89778f8-vpsfw Total loading time: 0 Render date: 2024-07-16T20:52:37.632Z Has data issue: false hasContentIssue false

Extended Phonography: Experiencing place through sound, a multi-sensorial approach

Published online by Cambridge University Press:  21 December 2017

Matilde Meireles*
Affiliation:
School of Creative Arts, Queens’ University Belfast, The Sonic Arts Research Centre, BT7 1NN Belfast, Northern Ireland

Abstract

In this article I propose the use of extended phonography as an integrated practice which offers the opportunity to overcome the fragmentation of the senses inherent in field recording. I outline how listening across practices empowers both recordist and audience to experience a richer engagement with the recorded environment. Furthermore, I introduce new forms of articulating the experience of place and its relationship to sound, by highlighting the conceptual framework of two of my contrasting works, the site/context-specific projects Moving Still: 1910 Avenida Atlântica, Rio de Janeiro, Brazil and X Marks the Spot. These works, both artistic and discursive, are a direct outcome of my practice of extended phonography. Through them, I attempt to address the need for a vocabulary that mirrors the new aesthetics arising in sound art and further expand the practice of field recording.

Type
Articles
Copyright
© Cambridge University Press 2017 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

REFERENCES

Amirkhanian, C., Krause, B. and Murch, W. 2013. Surrounded by Soundscapes: Charles Amirkhanian, Bernie Krause, Walter Murch. (accessed 15 January 2014).Google Scholar
Barthes, R. 1977. Image, Music, Text. London: Fontana Press.Google Scholar
Campany, D. 2008. Photography and Cinema. Reaktion Books.Google Scholar
Caux, J. 2012. Almost Nothing with Luc Ferrari. Berlin and Los Angeles: Errant Bodies Press.Google Scholar
Chion, M. 1994. Audio-Vision: Sound on Screen, ed. and trans. C. Gorbman. New York: Columbia University Press.Google Scholar
Cox, T. 2014. Sonic Wonderland: A Scientific Odyssey of Sound. London: Bodley Head.Google Scholar
Demers, J. 2010. Listening Through the Noise: The Aesthetics of Experimental Electronic Music. New York: Oxford University Press.CrossRefGoogle Scholar
English, L. 2014. A Beginner’s Guide to Field Recording. www.factmag.com/2014/11/18/a-beginners-guide-to-field-recording/ (accessed 3 December 2014).Google Scholar
Ingold, T. 2007. Against Soundscape. In A. Carlyle (ed.) Autumn Leaves: Sound and the Environment in Artistic Practice. Paris: Double Entrendre.Google Scholar
Lane, C. and Carlyle, A. 2013. In the Field: The Art of Field Recording. Devon: Uniformbooks.Google Scholar
Lippard, L. R. 1997. The Lure of the Local: Senses of Place in a Multicentered Society. New York: New Press.Google Scholar
Negrão, M. 2014. 48Hz (exhibition catalogue). Exhibited at Platform Arts, Belfast, 28–30 March.Google Scholar
Pijanowski, B., Villanueva-Rivera, L., Dumyahn, S., Farina, A., Krause, B., Napoletano, B. et al. 2011. Soundscape Ecology: The Science of Sound in the Landscape. BioScience 61(3): 203216.CrossRefGoogle Scholar
Sekula, A. 1978. Dismantling Modernism, Reinventing Documentary (Notes on the Politics of Representation). The Massachusetts Review 19(4): 859883.Google Scholar
Singer, B. 1989. Jeanne Dielman: Cinematic Interrogation and ‘Amplification’. Millennium Film Journal, Mythologie 22: 5675.Google Scholar