Abstract
Conceived by Murray Schafer, in the late 1960s, early 1970s, the soundwalk concept is considered as an empirical method of auditory exploration of the sound environment, in varied locations, also used for the understanding and perception of human daily practices, according to personal and professional points of view (Nakahodo and Quaranta, 2013). Thus, the concept claims for an “active passive” participation of the individual in the sound environment, in order to focus attention and develop the process of critical listening, contributing to the balance of the soundscape (Adams et al, 2008). According to Westerkamp (2001), neglecting the individual and social auditory process promotes a poor quality sound environment, enabling exhaustive, painful and, in a way, depressing and frustrating sound walks (soundwalks). Associated with research in the area of acoustic ecology, the term soundwalking, defined by Hildegard Westerkamp in the 1970s, also highlights the potential of improvisation and composition, through the sound resources available to the listener, articulating the visual component with the auditory one, in a mix of meanings and opportunities within the creation of sound art (Fernström and Taylor, 2014). Within the artistic and education component, soundwalk promotes the creation of sound narratives based on the perspective of the artist and the spectator, translating the environment into a museum available to all listeners, providing the opportunity for those involved to have a dual role of visiting curator, in a work, orchestration and musical performance without direction, without conductor (Kato, n.d.).
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
2023 Special Focus—-New Aesthetic Expressions: The Social Role of Art
KEYWORDS
Soundwalk, Art, Digital, Education
