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Des fictions autour de récits d'émigration à la Cité Nationale de l'Histoire de l'Immigration - Faïdos SonoreCette année, des groupes vont créer des fictions sonores autour de récits d’émigration. Ces ateliers font suite à une visite dans l’exposition permanente à la Cité Nationale de l’Histoire de l’Immigration.
By E. Jaud on juillet 12th, 2012
Sources et ressources Ressources pédagogiques Ouvrages
Sound provides an often-ignored element of our conceptualisation of the urban fabric. The power of music, sound and noise to denote place and demarcate space is used here to develop the idea of a sonic ecology. The paper attempts to map the relative order of this unseen city and to theorise its spatial and temporal patterning. The sonic ecology, a relatively persistent and chronologically ordered quality to sound in urban space, is used as a means of examining the distribution of sound and to weigh the broader social impact of these qualities. The ambient soundscape of the street is made up of a shifting aural terrain, a resonant metropolitan fabric, which may exclude or subtly guide us in our experience of the city, thus highlighting an invisible yet highly affecting and socially relevant area of urban enquiry.
This paper considers the sonic geography of a region since the late nineteenth century, taking material from the Norfolk Broads, a wetland region in eastern England. This area has been defined through competing cultures of nature and leisure, with the presence, absence and nature of sound a key concern. The theme of sonic geography is set within debates concerning the nature of regional identity, moral geographies of conduct in landscape, and uses of the term ‘soundscape’. The paper draws on surveys of sound, travel guides, press reports, private journals and fictional accounts, showing how in the contested valuation of a regional landscape the aesthetic, ecological and social are enfolded through sonic geography. Keywords Related
Abstract 112 Ellen Waterman Ecumene 2000 7 (1) rom its inception in the late 1960s in Canada, the interdiscipline of acoustic ecology has always been conceived of in spatial terms. Its founder, the com- poser and writer R. Murray Schafer, was concerned with uniting the various branches of sonic research from acoustics to communications, from sound recording to sound design, from music to audio art and from otology to noise pollution activism under the rubric of soundscape studies. His seminal book The tuning of the world (1977) mapped the (western) sonic environment both his- torically (through literary evidence) and ethnographically (through sound tech- nologies), and imagined its future design. Acoustic ecology is an emerging field concerned with a broad approach to the sonic environment not merely the prohibition of harmful noises, but the preservation and design of unique, beautiful or culturally significant sounds.
Buy & download fulltext article: Abstract: Human evaluation of soundscapes has been postulated to depend on whether sounds are wanted or unwanted in a particular context, rather than on simple metrics of sound level. A study was undertaken in the countryside of Hong Kong to determine how visitors evaluate soundscapes and what factors influence their preferences. A questionnaire survey was undertaken at 44 locations in different parts of the countryside of Hong Kong representing all major soundscape types.
Quite a few years ago I wrote an overview article on the use of sound for representing geographic data, including a series of sound variables for mapping I developed. The article was titled “Sound and Geographic Visualization” and was published as a chapter in the now out-of-print book Visualization in Modern Cartography (MacEachren & Taylor eds., 1994). Sound is used to convey information all the time, but less so in the realm of mapping where the visual dominates. The article explores the possibilities of making maps with sound, or using sound in tandem with a visual display to add additional layers of information. Some work on tactile mapping had had occurred at the time the article was published, as well as a few dozen articles on sound for representing data in general (not geographic data).
Sound Recording Tutorial from Wildlife Sound Recordist John Acorn | Experimental Geography in PracticeI thought I would share the first experimental attempts of John Acorn (University of Alberta) and I to find the best way to record a walking interview whilst also capturing the surrounding sound-environment. Merle and John walking, recording sound and video through Hawrelak Park, Edmonton. Still photo taken from GoPro moving footage. The following sound file acts as an introductory tutorial from Dr John Acorn to the basics of sound recording and documents our attempts to find the best way of recording people moving through landscape (in our case Hawrelak park) and develop a walking interview technique that captures both the sound environment and the interview: Click on the link to access the sound file: Sound Tutorial
In this lesson students will undertake fieldwork in the local area around the school. Using group and individual recording sheets they will carry out a variety of data collection methods, including counting traffic, recording their emotions, recording soundscapes and taking digital photos of the route. It can be done with or without the assistance of a PDA.
A Sonic Geography of Alaska (4:18) John Luther Adams is an Alaskan composer who is interested in defining an ecology of music. He is greatly influenced by the sonic geography of Alaska and in this short video explores the forces of nature as music and a work he created translating the geophysical phenomena of Alaska into music, as explored in the feature documentary " The Reach Of Resonance ", directed by Steve Elkins. Source: YouTube <p style="text-align:right;color:#A8A8A8"></p>
1. Have students think about the sounds they hear every day. Ask: When you are asked to describe where you live, what do you say? Do you describe the homes, shops, and businesses? Do you describe the people? The landscape ?
Professeur Jonathan Bolduc accueille les 15 élèves de sa classe de maternelle à la porte de son laboratoire Mus-Alpha de l'Université d'Ottawa, avec d'énormes lunettes sur le nez. Une énorme paire de lunettes sur le nez, Jonathan Bolduc salue les 15 élèves de la maternelle à l'entrée du laboratoire Mus-Alpha de l'Université d'Ottawa. Les enfants le connaissent bien, car ils le rencontrent une fois par semaine pour participer à son projet de recherche.
Histoire des arts: paysages sonores et visuels à Montboucher Animation pédagogique en co-intervention Pascal Jodar CPD musique, Irène Mieussens CPD arts visuels module 6h