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Since the noise machines were invented by futurist Luigi Russolo in the 1900s to 1930s; sound art began its growing popularity among creatives: Sonic Arts Thesis, QUS, Ireland

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Chapter 1

Since the noise machines were invented by futurist Luigi Russolo in the 1900s to 1930s; sound art began its growing popularity among creatives and those involved in art practices. Sound art is closely connected with the growth of soundscape studies and the practice of field recording. This has motivated the academic and artist to investigate and experiment with the ways in which sound art and field recording has transformed today’s current artistic practices.

This research focuses on the subjective nature and embodiment involved in the field recording process and production of sound artworks. While studying for this master’s I have taken part in the field recording process and created various sound art projects as a result. This process of creation has identified that I solely used field recording as a means of collecting sounds. The motivation to explore my own embodiment and presence in this creation process took fruition. How can I achieve a self-narrative approach to field recording and the development of sound art projects, rather than just using the field recording process as a means of the sound collection?

The “self-narrative approach to field recording has not been widely explored. The main aim of this thesis is to gain an understanding of my own presence and surroundings within personal environments, through the process of a self-narrative approach to field recording and the creation of sonic art. Thus, gaining valuable skills and knowledge to aid in the growth of my own artistic practices. This research could possibly be used as a point of reference for future creatives involved in sound-related artistic practices.

I will aim to achieve this goal by undertaking the following objectives:

  • Create a sound library of field recordings of environments personal to me.
  • Develop soundscapes from the field recordings involving my own presence… voice, breathing, and body sounds. narration.
  • Investigate the area of field recording in relation to a self-narrative approach
  • Explore the area of sound art
  • Explore the traditional ideas associated with field recording practice.
  • Explore the relationship between Psychography and the field recording practice.
  • Investigate the self-reflective approach in creative practices
  • Investigate embodiment in relation to the creation of art.
  • Explain the importance of the final exhibition space in relation to acoustic value and space. (venue)
  • Discuss the idea of the recordist being the author of the work
  • Discuss Merleau – Ponty’s and Tsunoda’s views on bodily perception.

Background

In chapter two, Firstly, I will discuss the origins and present climate of the field recording practice using Ludwig Kock, John Lomax, Bernie Krause, Diane Hope, Francisco Lopez, Chris Watson, Hanna Hartman, and Hildegard Westerkamp’s artistic practices, artworks, and insights as reference. Then I will outline the intertwined relationship between field recording and sound art. The “self-narrative” approach to field recording will be explored in relation to field recording and embodiment in terms of creating artworks. The area of sound art will be discussed and linked to presence/embodiment in relation to projects created by Samson Young, Carsten Nicolai, Florien Hecker, and Susan Philipsz. I will then investigate the self-reflective approach in creative practices, outlining the links to my own sound art project accompanying this thesis. The intermeshed relationship between embodiment and creation of art will be defined. Merleau-Ponty and Tsunoda’s views on bodily perception and embodiment will be mentioned in relation to art practice. The importance of the exhibition venue for a sound artwork regarding acoustic value and space will be highlighted. The relationship between Psychogeography and the field recording practice will be discussed, reflecting on the benefits of this connection. Finally, the history of Psychogeography and its place in the current artistic climate will be discussed.

In chapter three, I will define my practice-based/theory mythology. Outlining the key benefits of this mythology in relation to the creation of my final thesis project. The idea of knowledge gained by doing and experimenting will be highlighted.  Critique of this type of research will be discussed regarding the benefits and downfalls of artistic practices. The creative process I undertook in the creation of my sound art project will be explained step by step, discussed, and reflected on.

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