Scribd Logo
Upload

Welcome to Scribd!

  • Harris - Scorescapes

    Uploaded by

    Giorgi Chubinidze
    19 views7 pages
    vffffffffffffffff

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document
    vffffffffffffffff

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    19 views7 pages

    Harris - Scorescapes

    Uploaded by

    Giorgi Chubinidze
    vffffffffffffffff

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 7
    Antist’s aaticuE Scorescapes On Sound, Environment and Sonic Consciousness YOLANDE HARRIS Te autor dss Scomscapes, a ai cach poet hal Invsiges how sound meds cr relatonhip be secret ‘nd how conenporiy miideoplnary er porSos con eels i, Scorescopes ois ta aubors oun eke pocice wit a heortee nas thhghlgh hw ratentpe ae enters! Sow though cud ao profound beund up uth ecrlegy Key concops Incde: making ho nou able nderwot und on caaceen ‘conmuncater: fli rcaelags ad he conte bs of vsne, Iypleges ser sor 2 eSondip: and cmon, SOUND, ENVIRONMENT AND SONIC CONSCIOUSNESS Scorescapes isan artistic research projec that combines the- retical and conceptual development with a set of related artworks described throughout this paper [i]. Through the project [createhybrid methods that aim to heighten personal sswarenest through direct engagement with sonic environ- ‘ments, negotiating a role forthe artist and composer as a researcher. Working closely with composers David Dunn, Alvin Lucier and Pauline Oliveros, nd with bio-acousticsci- “ntist Michel André, I tested and applied theoretical ideas. ‘This process generated unexpected insight, including the need to distinguish between audifcstion, sonication and -ioualization processes, the paucity of research oa underws- {er sonic environments and the anthropoceatric bias toward environmental sound. ‘What does it mean to relate tothe environment through sound? Building on both music theory and vieual arts, T propose an expanded notion of the musical score—one that facilitates relationship in and between minds, notations and Sa Ea eee ep ae ee Seamer Spr keme a mat denedsanponmandcs nn ABS = Sparen ever arnin ROISISAST dec10. 16/EONL Dobe ‘vironments, Bulidng on my prior projets Tag Sound- {ngs (2006-2007) and Sum Run Su (2008-2008), which examine narigation techniques through sound, Scoresapes investigates parallels between acoustic ecology andland at, cology and stems aesthetics, and the legacy of walking as anartform tht emphasizes an embodied relationship ones ‘nvironment uch lationship re often profoundlybound _p with ecology, which ages questions aso how intra- ‘ments enable aswell as inhibit era forms of knowledge. Scorescapes considers sounds beyond the range of human hearing and in uninhabitable environments and iavesigates techniques, commen asurptions and approaches to mak ing the inaudible aude. Prther, my research on the sonic qualities ofthe underwater environment, where soundis es sential to aquatic life leads to questions of displaced sound infield recordingsin general and revatsin critique of what, {eal “soni colonials” and any proposal for an embodied agagement with environmental recordings ‘My artwork in the Scoecapes eres both provoke and synthesize these ideas by exploring vious form of presen tation, incuding euiovisua installations and performances, performative lectures, electronic instruments, sone walks and collaborations with iaprovising musicians. Tarough the artistic process of making Teapical Storm (2009), Pink [Noise (aio) (Color Pite A), Hshing for Sound (aote) and ‘other works, [recognized the central importance of consid- ‘ting the cones in which sounds occur rather than focus dg exclusively onthe qualities ofa sound tele From this perspective, the act of composition emphasizes a renewed focus on listening is onder to understand sounds in rea- tionship ta their environment and to enable othe isteners todothesime, SCORE: RELATIONAL QUALITIES ‘OF MAPS AND MUSICAL SCORES. ‘A map encodes our relationship tothe environment through «set of visual signs that correlate with what we see around us [2 In parallel, a musical score provides a visual map of sound that can be reproduced in detail. Although usually, \EONABOO, Yo A No.2, 5p. 172122, 2015 117 considered 2 definitive static docu- ment, a score or map moze properly indicates and enables fluid relation ships between people, objects and environments, Such an approach reflects current theories that empha- size the relational qualities of sound Ib]. Unlike the vieual, which tends to privilege discrete objects, sound {is energy that fils space; it is defined through the relationshipe it sets up between sound and listener. Rethink- Ing this relationship between visual

    You might also like