The bicentenary of the 1817 Pentrich Revolution provided an opportunity for the composition of a series of soundwalks that, in turn, offer themselves up as a case study in an exposition of spatial bricolage, from the perspective of an interdisciplinary artist working with the medium of locative sound. Informed by Doreen Massey's definition of space as 'a simultaneity of stories so far', the author’s approach involves extracting sounds from the contemporary soundscape and re-introducing them in the form of multi-layered compositions. This article conducts an analysis of the author's soundwalking practice according to Max van Manen's formulation of four essential categories of experience through which to consider our 'lived world': spatiality, temporality, corporeality, and relationality. Drawing upon theorists whose concerns include cinematic, mobile and environmental sound, such as Chion, Chambers and Schafer, the author proposes the soundwalk as as an expanded form of cinema, with the flexibility to provoke states of immersion was well as critical detachment. A case is made for the application of the medium within the artistic investigation into ecological and socio-political issues alongside aesthetic concerns.
展开▼
机译：1817年的Pentrich Revolution诞辰200周年，为一系列声乐的创作提供了机会，而这些声乐又从跨学科艺术家和定位语言的角度出发，作为空间贿赂展览的个案研究声音。在多琳·梅西（Doreen Massey）将空间定义为“迄今为止的故事同时性”的启发下，作者的方法涉及从当代音景中提取声音，然后以多层构图的形式重新引入声音。本文根据马克斯·范·曼恩（Max van Manen）提出的四个基本经验类别来分析作者的声音漫游实践，通过这些经验类别，我们可以考虑我们的“生活世界”：空间性，时间性，亲和性和关系性。笔者借鉴了包括电影，移动和环境声音在内的理论家（例如Chion，Chambers和Schafer）的观点，提出将声音步道作为电影的一种扩展形式，可以灵活地激发沉浸状态以及临界分离。在对美学和美学关注的生态和社会政治问题进行艺术调查的情况下，提出了将这种媒介应用的案例。
展开▼
