Scorescapes : on sound, environment and sonic consciousness
Harris, Y.
Citation
Harris, Y. (2011, December 6). Scorescapes : on sound, environment and sonic consciousness. Retrieved from https://hdl.handle.net/1887/18184
Version: Corrected Publisher’s Version
License: Licence agreement concerning inclusion of doctoral thesis in the Institutional Repository of the University of Leiden
Downloaded from: https://hdl.handle.net/1887/18184
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Table of Contents, Yolande Harris 1
Scorescapes: On Sound, Environment and Sonic Consciousness
1. Introduction: Sound Art and Environment 4 1.1 Sound and Environment from Practice
1.2 Towards an Active Engagement with Environment
1.3 Background Theories: Sound Art as an Emerging Interdisciplinary Field 1.4 Scorescapes Dissertation Overview
1.5 Overview of Creative Works presented as part of this Research Project
2. Score: the Score as Environment and the Environment as Score 20 2.1 Scores Re-Imagined
2.2 The Score as a Bridge between Sound, Self and Environment 2.3 How I arrived at the notion of Scorescapes through my practice.
2.4 Scorescapes: Sound and Place 2.5 Scorescapes in the Mind
2.6 Scores, Mapping and Navigation in my work 2.7 Scores and Relational Aesthetics
2.8 Scorescapes and Composition as Research
3. Scape: Investigating the Environment through Sound 31 3.1 Rethinking Land Art and Acoustic Ecology
3.2 Systems Aesthetics and Direct Involvement with Environment:
Burnham, Bateson, Dunn, Schafer
3.3 From Prehistory to Eco-Aesthetics: Lippard and Dunn 3.4 Walking as Active Engagement with Environment
4. Inaudible: Sounds beyond Human Hearing 45
4.1 Why Make the Inaudible Audible?
4.2 How to make the Inaudible Audible: Visualisation, Audification and Sonification 4.3 Audification
4.4 Sonification
4.5 Sun Run Sun: an example of compositional process of sonifcation 4.6 Listening
Table of Contents, Yolande Harris 2
5. Whale: An Investigation of Underwater Sound 57 5.1 Fishing for Sound
5.2 Underwater Sound
5.3 Understanding Biological Ecosystems Through Underwater Sound 5.4 Sonic Evidence and the Composer
5.5 The Whale as a Stage 5.6 Humpback Whale Songs 5.7 Sperm Whale RIME’s
5.8 Alvin Lucier’s Quasimodo the Great Lover 5.9 Physically Experiencing Sonic Processes 5.10 Long Distance Sounds
5.11 (Inter-Species) Communication, Evolution, Music 5.12 Underwater Sound in Scorescapes
6. Field: Place and Embodiment in Field Recording 89 6.1 Issues in Field Recording
6.2 Questions of Place: the Composer and Field Recordings
6.3 What is actually happening when I listen to a recording? Schizophonia, Real/Virtual, Body.
6.4 An Informed Listener or Sonic Colonialism?
6.5 Field Recordings, Anthropogenic Sound and Bio-Acoustics 6.6 Field as a State of Mind
6.7 My Personal Approach to Field Recordings
7. Flare: Charging the Space between Intuition and Technology 100 7.1 Flare
7.2 Explosion
7.3 Energy and Sonic Vibration
7.4 Sound, Image, Perception and Technology 7.5 Sound Flares: Pink Noise
7.6 Tropical Storm: Re-living an Intense Environment in a Site-Specific Installation 7.7 EMDR Clicks: Therapy for Future Flooding
7.8 Tips for Dreaming: Swim and Fishing for Sound
7.9 Instruments in Environment: Towards a 'Techno-Intuition' Through Sound 7.10 Conclusion
Abstract 122
Samenvatting 124
Acknowledgements 127
Biography 129
Table of Contents, Yolande Harris 3
References
Appendix 1: Contents of Documentation DVD
Appendix 2: Chronology of Work September 2008 - June 2011 Appendix 3: Biographies of Key Individuals
