Dissolving Dualities: Onto-epistemological Implications of Ecological Sound Art

Abstract

This paper discusses the arts practice that emerged during the AHRC funded research project ‘Landscape Quartet: Creative Practice and Philosophical Reflexion in Natural Environments’ (2012–2014). The introduction covers the project's eco-critical basis, practical methodologies developed during it (including the roles of experimentation and improvisation), and the particular epistemological value of practice-led research in this context. A broader theoretical discussion then outlines how non-representational theory and Tim Ingold's concept of dwelling help to expand and clarify the argument for participative environmental arts practice. These ideas are then developed through a series of examples and a conceptual approach based on notions of working with, of, and for the environment. It concludes by considering the multifaceted ontological significance of experiences of ecological arts practice, directly, as an in situ performer on the one hand, and with subsequent artefacts, performances and installations removed from the original site, on the other

Embodiment through digital intangibility: Infrastructures of musicking

“…The infrastructure approach is gaining increasing interest in the fields of sound and music studies (Sansom, 2016;Trommer, 2020). In this regard, Matthew Sansom's (2016) ideas about specific modes of wayfinding raise interesting points to address.…”

“…The infrastructure approach is gaining increasing interest in the fields of sound and music studies (Sansom, 2016;Trommer, 2020). In this regard, Matthew Sansom's (2016) ideas about specific modes of wayfinding raise interesting points to address. In his article, 'Dissolving Dualities: Onto-Epistemological Implications of Ecological Sound Art', he discusses the artistic and practiceled research project Landscape Quartet: Creative Practice and Philosophical Reflexion in Natural Environments.…”

Translating performative mediated art into virtual reality: A case study

“…In order to interpret and understand how subsequent artefacts connected, and still connect, with the project's participative agenda it was argued that subsequent works are born of and exist in ongoing relational processes (Sansom 2015). Cultural geographer David Crouch makes the argument that such representations, themselves born of the performativity of living, are in no sense fixed or closed to change but rather 'remain open too, "available" for further work' (Crouch 2012).…”