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Conceptual overlays for urban soundscape design emerging from a transversal analysis of Lefebvre, Deleuze and Guattari, and Arendt

机译:从Lefebvre,Deleuze和Guattari以及Arendt的横向分析中得出的城市音景设计概念叠加图

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This paper describes theoretical developments that have emerged alongside the author’s urban soundscape design practice. The theory, which emerged from a transversal analysis of Henri Lefebvre, Gilles Deleuze and Felix Guattari, and Hannah Arendt, particularly their philosophical investigations of space, rhythm and nature, is presented as four conceptual overlays to aid soundscape design practices in urban spaces. The first conceptual overlay, Radiating Striations of Centralities, synthesises spatial discussions of Deleuze and Guattari and Lefebvre into soundscape design approaches that simultaneously respond to centralized controls and the peripheries of urban spaces. The second conceptual overlay, The Isorhythimc Refrain, convolves Deleuze and Guattari’s refrain and Lefebvre’s isorhythms into identifiable socially controlling rhythms that unfold as captured sonic and gestural forms throughout urban spaces. The third conceptual overlay, Altered Soundscapes as Emergent Ecologies, investigates Guattari’s a-signifying rupture and the potential of soundscape design as rupture to affect the emergence of Lefebvre’s new nature(s) in urban spaces. The fourth conceptual overlay, Disassembling the Collective Assemblage of Enunciation, discusses Arendt’s reflections on?social rhythms subsuming society into automated behaviour, and the challenges that can be presented to such automated behaviour through the act of soundscape design. The four conceptual overlays provide sociopolitical and ecological understandings of the urban that contribute to a soundscape design practice from which public soundscape installations are created to subvert controlling spatiotemporal rhythms of the urban for the emergence of new nature(s). The article concludes by suggesting that due to the amorphous characteristics of sound the soundscape designer is in a unique position to affect immediate sociopolitical and experiential transformations of urban spaces.
机译:本文描述了随着作者的城市音景设计实践而出现的理论发展。该理论是从对Henri Lefebvre,Gilles Deleuze和Felix Guattari和Hannah Arendt的横向分析中得出的,特别是他们对空间,节奏和自然的哲学研究,被提出为四个概念性叠加,以帮助城市空间中的音景设计实践。第一个概念性叠加图《辐射的中心地带》将Deleuze,Guattari和Lefebvre的空间讨论综合到音景设计方法中,这些方法同时响应集中控制和城市空间的外围。第二个概念性叠加,即Isorhythimc抑制,将Deleuze和Guattari的抑制和Lefebvre的等速节奏转化为可识别的社会控制节奏,这些节奏随着在整个城市空间中捕获的声音和手势形式而展开。第三个概念性叠加图,即“作为紧急生态而改变的音景”,研究了瓜塔里的标志性破裂以及音景设计破裂的可能性,这些破裂影响了勒费弗尔的新天性在城市空间的出现。第四个概念性叠加,《解散报解的集体组合》,讨论了阿伦特对将社会纳入自动行为的社会节律的思考,以及通过音景设计行为可以对这种自动行为提出的挑战。四个概念性叠加层提供了对城市的社会政治和生态学理解,从而有助于音景设计实践,从中创建了公共声景装置,以颠覆控制城市时空节奏的节奏,以迎接新自然的出现。本文的结论是,由于声音的无定形特征,声景设计师处于独特的位置,可以影响城市空间的直接社会政治和体验式转变。

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