LOGIN TO YOUR ACCOUNT

Username
Password
Remember Me
Or use your Academic/Social account:

CREATE AN ACCOUNT

Or use your Academic/Social account:

Congratulations!

You have just completed your registration at OpenAire.

Before you can login to the site, you will need to activate your account. An e-mail will be sent to you with the proper instructions.

Important!

Please note that this site is currently undergoing Beta testing.
Any new content you create is not guaranteed to be present to the final version of the site upon release.

Thank you for your patience,
OpenAire Dev Team.

Close This Message

CREATE AN ACCOUNT

Name:
Username:
Password:
Verify Password:
E-mail:
Verify E-mail:
*All Fields Are Required.
Please Verify You Are Human:
fbtwitterlinkedinvimeoflicker grey 14rssslideshare1
Leadley, Marcus
Languages: English
Types: Doctoral thesis
Subjects:
This enquiry represents an exploration of environmental sound and artistic practice from the perspectives of in situ listening and transphonia. The initial term, in situ listening, has been coined by the author in order to constellate a group of intellectual trajectories and artists’ practices that engage with recorded sound and share a common theme: that the listening context, the relationship between mediated sound and site, is an integral part of the engagement process. Heikki Uimonen (2005, p.63) defines transphonia as the, “mechanical, electroacoustical or digital recording, reproduction and relocating of sounds.” The term applies to sound that is relocated from one location to another, or sound that is recorded at a site and then mixed with the sound of the prevailing environment. The experience of the latter, which is a key concern for this thesis, may be encountered during the field recording process when one ‘listens back’ to recordings while on site or during the presentation of site-specific sound art work. \ud \ud Twelve sound installations, each based on field recordings, were produced in order to progress the investigation. Installations were created using a personally devised approach that was rigorous, informed, and iterative. Each installation explored a different environment. These installations, and their related environmental studies, form the core content of this enquiry. \ud \ud In the first part of this thesis the installations are used to explore observations of transphonic audio content in relation to a number of subjective, surprising and intangible phenomena: disorientation, uncanny sensations or even the awareness of coincidence. These observations are supported and contextualised in relation to a wide range of historic and contemporary sources. \ud \ud Works in the second part of the thesis are used to motivate a meditation on the relationship between soundscape, site and time, which was proposed by the initial phase of the research.
  • The results below are discovered through our pilot algorithms. Let us know how we are doing!

    • Fitter, C., 1995. Poetry, Space, Landscape: Towards a New Theory. Cambridge: Cambridge University Press.
    • Foucault, M., 2002. The Archaeology of Knowledge. Translated from French by A. Sheridan Smith. New York: Routledge.
    • Freud, S., 1919. The “Uncanny”. In: E. Jones, ed. 1959. Collected Papers, Volume IV. Translated from German by J. Riviere. New York: Basic Books.
    • Gibson, J., 1968. The Senses Considered as Perceptual Systems. Sydney: Allen & Unwin.
    • Gillies, M. A., 1996. Henri Bergson and British Modernism. Kingston, Ontario: McGillQueen's University Press.
    • Grosz, E., 2005. Time Travels: Feminism, Nature, Power. Durham, North Carolina: Duke University Press.
    • Granö, J.G., 1997. Pure Geography. O. Granö and A. Passi, eds. Translated from Finnish by M. Hicks. Baltimore and London: The John Hopkins University Press.
    • Ingold, T., 2007. Against Soundscape. In: A. Carlyle, ed. 2007. Autumn Leaves: Sound and the Environment in Artistic Practice. London: Double Entendre.
    • Järviluoma, H., Kytö, M., Truax, B., Uimonen and Vikeman, H., eds., 2009. Acoustic Environments in Change. Tampere: TAMK University of Appied Sciences.
    • Jennings, S., 2002. Locked in Locked Out. Atlanta, Georgia: Dream Catcher Publishing. Jones, P. and Buckley, P., 2006. Schizophrenia: Churchill's in Clinical Practice Series Issue 21481. Oxford: Elsevier Health Sciences.
    • Jung, C., 1972. Synchronicity, an Acausal Connecting Principle. Translated from German by R. Hull. London: Routledge & Kegan Paul.
    • Jung, C., 1997. Man and his Symbols. Translated from German by R. Hull. Brooklyn, New York: Laurel Press.
    • López, F., 2004. Profound Listening and Environmental Sound Matter. In: C. Cox, ed. 2004. Audio Culture: Readings in Modern Music. London: Continuum International.
    • Lynch, K. and Hack, G., 1984. Site Planning. Cambridge, Massachusetts: MIT Press.
    • Mâche, F. B., 1983. Musique, Mythe, Nature ou Les Dauphins D'Arion. Paris: Klincksieck.
    • Makhzoumi, J. and Pungetti, G., 2005. Ecological Landscape Design and Planning. New York: Routledge.
    • Manley, G. and Gleich, O., 1992. Evolution and Specialization of Function in the Avian Auditory Periphery. In: D. Webster and R. Fay eds. 1992. The Evolutionary Biology of Hearing. New York: Springer Verlag.
    • Merrifield, A., 2006. Henri Lefebvre: A Critical Introduction. Abingdon: Taylor & Francis.
    • Neuhaus, M., 2000. Sound Art?//2000. In: C. Kelly, ed. 2011. Sound. Cambridge, Massachusetts: MIT Press.
    • Connor, S., 2005. Ears Have Walls: On Hearing art. FO A RM 4, pp. 48-57. [online] Available at: [accessed 24 October 2014].
  • No related research data.
  • No similar publications.

Share - Bookmark

Cite this article