Join us for a peer-led session exploring Sound (or silence) in practice-based research. Open to all PhD researchers in Art, Design, and Humanities, at any stage of study.

Please see below for a reading list from Markus Hetheier in advance of the reading group in July.

From Markus: longlist and shortlist reading recommendations plus questions to use when reading and discussing these texts and some practical examples:

Readings:

Anderson, I. (2015) ‘Soundmapping beyond the grid: alternative cartographies of sound’, Journal of Sonic Studies, 11, pp. n.p.

Anderson, I. and Rennie, T. (2016) ‘Thoughts in the Field: ‘Self-reflexive narrative’ in field recording’, Organised sound : an international journal of music technology, 21(3), pp. 222-232.

Gallagher, M. (2015) ‘Sounding ruins: reflections on the production of an ‘audio drift”, Cultural geographies, 22(3), pp. 467-485.

Gallagher, M. (2016) ‘Sound as affect: Difference, power and spatiality’, Emotion, space and society,20, pp. 42-48.

McMurray, P. (2018) ‘Ephemeral cartography: on mapping sound’, Sound studies (2015), 4(2), pp. 110-142.

Mydlarz, C. (2013) ‘Exploring soundscapes. Cutting-edge data collection by citizen scientists maps a world of sonic diversity’, Perspectives, (no. 1), pp. 16-21.

Ouzounian, G. (2014) ‘Acoustic mapping’, in Gandy, M. and Nelson, B. (eds.) The acoustic city. Berlin: JOVIS Verlag, pp. 164-173.

Paquette, D. and McCartney, A. (2012) ‘Soundwalking and the Bodily Exploration of Places’, Canadian journal of communication, 37(1), pp. 135.

Thulin, S. (2018) ‘Sound maps matter: expanding cartophony’, Social & cultural geography, 19(2), pp. 192-210.

Truman, S. E. and Shannon, D. B. 2018. Queer Sonic Cultures: An Affective Walking-Composing Project. Open Humanities Press.

Waldock, J. (2011) ‘Soundmapping: critiques and reflections on this new publicly engaging medium’, The Journal of Sonic Studies, 1, pp. N.p.

Waldock, J. (2016) ‘Hearing urban regeneration: community composition as a tool for change’, in Bull, M. and Back, L. (eds.) The auditory culture reader. Second ed. London:: Bloomsbury, pp. 151-161.

Wells, K. and Bailey, A. (2020) ‘Sound art and the making of public space’, Social & cultural geography,21(8), pp. 1083-1102.

Westerkamp, H. (1994) ‘The soundscape on radio’, in Augaitis, D., Lander, D., Walter Phillips, G. and Banff Centre for the, A. (eds.) Radio rethink : art, sound and transmission. Banff, Alta., Canada: Walter Phillips Gallery, pp. 87-94.

Shortlist for the session:

Anderson, I. and Rennie, T. (2016) ‘Thoughts in the Field: ‘Self-reflexive narrative’ in field recording’, Organised sound : an international journal of music technology, 21(3), pp. 222-232.

Gallagher, M. (2016) ‘Sound as affect: Difference, power and spatiality’, Emotion, space and society,20, pp. 42-48.

Paquette, D. and McCartney, A. (2012) ‘Soundwalking and the Bodily Exploration of Places’, Canadian journal of communication, 37(1), pp. 135.

Waldock, J. (2016) ‘Hearing urban regeneration: community composition as a tool for change’, in Bull, M. and Back, L. (eds.) The auditory culture reader. Second ed. London:: Bloomsbury, pp. 151-161.

The articles cover field recordings, sonic affect, soundwalks and composition as key sonic methods and concepts.

You could think about the following questions:

• Which sounds would you like record and document as field recordings for your research? What narrative emerges from these sounds?
• What sound are you affected by? Do they hold significance for your research?
• Are there any physical areas relevant to your research that you could examine through soundwalks?
• How would you approach to composition of the gathered sounds and impressions?
• Would you develop a soundscape composition by yourself as researcher and artist or would you involve research participants or both?

Two practical examples of research projects based on some of these sonic methods:

https://www.isobelanderson.com/post/sailortown
https://www.mdmarchive.co.uk/map/the-lapsed-clubber-audio-map
https://sickfestival.com/2022_event/soundpaths/

With the first two examples there are audio samples which you can listen to and some context if you follow the links.

Organised by: Jan Connett