Soundscapes of the Urban Past : Staged Sound as Mediated Cultural Heritage

Bijsterveld, Karin

doi:10.26530/oapen_627788

Cited by 28 publications

(18 citation statements)

References 5 publications

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“…Among others, related services or cultural activities (tomorrow's heritage) include tourist promotion and environmental preservation/awareness for landscapes and intangible artifacts [1][2][3], sites modeling/reconstruction and content restoration/documentation [4,5], and multi-disciplinary collaborations in research and education innovations [6][7][8][9]. Audiovisual and soundscape-related heritage initiatives also emerge, focusing on historical sound records and landscapes preserved, re-created, and reproduced as means of intangible CH expressions [25][26][27][28][29]. Furthermore, the impact of environmental sounds, noise, and soundscape components is analyzed on various aspects of modern human life, i.e., examining their associations with the residents' physical/mental health, perception, and behavior, aiming to unveil factors of sustainable growth and development and overall quality of life as well [30][31][32][33][34][35][36][37].…”

Section: Related Workmentioning

confidence: 99%

Semantic Crowdsourcing of Soundscapes Heritage: A Mojo Model for Data-Driven Storytelling

et al. 2021

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The current paper focuses on the development of an enhanced Mobile Journalism (MoJo) model for soundscape heritage crowdsourcing, data-driven storytelling, and management in the era of big data and the semantic web. Soundscapes and environmental sound semantics have a great impact on cultural heritage, also affecting the quality of human life, from multiple perspectives. In this view, context- and location-aware mobile services can be combined with state-of-the-art machine and deep learning approaches to offer multilevel semantic analysis monitoring of sound-related heritage. The targeted utilities can offer new insights toward sustainable growth of both urban and rural areas. Much emphasis is also put on the multimodal preservation and auralization of special soundscape areas and open ancient theaters with remarkable acoustic behavior, representing important cultural artifacts. For this purpose, a pervasive computing architecture is deployed and investigated, utilizing both client- and cloud-wise semantic analysis services, to implement and evaluate the envisioned MoJo methodology. Elaborating on previous/baseline MoJo tools, research hypotheses and questions are stated and put to test as part of the human-centered application design and development process. In this setting, primary algorithmic backend services on sound semantics are implemented and thoroughly validated, providing a convincing proof of concept of the proposed model.

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Section: Related Workmentioning

confidence: 99%

Semantic Crowdsourcing of Soundscapes Heritage: A Mojo Model for Data-Driven Storytelling

et al. 2021

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“…Feld (2012) has shown how certain forest populations knew (particularly well) how to listen to the world. At the crossroads of Sound Studies and Sciences and Technology Studies, Bijsterveld (2008 and 2013) has proposed a socio-history of noises (and therefore to a certain extent of pollution) and their social meanings.…”

Section: (Re)thinking Popular Music In the Anthropocene Eramentioning

confidence: 99%

Popular Music and the Anthropocene

Ribac¹,

Harkins²

2020

Pop. Mus.

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“…In many ways, this situation merely reflects an ongoing problem faced by sound art as a whole: while it has for some years been gaining increasing recognition in the gallery-based art world, academia has been slow to follow this trend, with the established disciplines of both art history and musicology largely failing to engage with it. This has led to the gradual emergence of sound arts as an independent field of study, with its own growing body of critical scholarship; and within this can be found a number of texts which do engage with the links between the environment, environmental sound and sound art (Truax 2001; LaBelle 2006; Bandt, Duffy and MacKinnon 2007; Carlyle 2007; Rudi 2011; Bijsterveld 2013; Belgiojoso 2014; Gandy and Nilsen 2014). However, in these texts such issues are invariably viewed through the lens of acoustic ecology; and while many of its core principles are of undeniable importance to ecological sound art, the fundamental fact that acoustic ecology is by definition a field concerned with the acoustic environment means that it only tends to engage with contemporary environmental issues to the extent that they impact the environmental soundscape .…”

Section: The Absence Of Ecological Sound Art From Current Critical DImentioning

confidence: 99%

Ecological Sound Art: Steps towards a new field

Gilmurray

2017

Org. Sound

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The years since the turn of the millennium have seen an increasing number of sound artists engaging with contemporary environmental issues such as biodiversity loss, sustainability and climate change through their work, forming a growing movement of environmentally concerned sound art; however, their work has yet to achieve the recognition enjoyed by comparable environmentalist practices in almost every other art form. This article argues that this increasingly significant area of sound arts practice should be recognised as a distinct field in its own right, and proposes that it be termed ‘ecological sound art’, reflecting its equivalent in the visual arts. After establishing its current absence from both ecocritical and sound arts scholarship, it proceeds to outline some of the core approaches which characterise works of ecological sound art, as the first step towards its establishment as a coherent field of practice. The final section draws from key works of contemporary ecological theory, examining the fundamental accord that exists between the new modes of thought they propose and the ways in which we experience and relate to sound art, demonstrating that ecological sound art represents not only a significant new field of sound arts practice, but also a powerful ecological art form.

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Soundscapes of the Urban Past : Staged Sound as Mediated Cultural Heritage

Cited by 28 publications

References 5 publications

Semantic Crowdsourcing of Soundscapes Heritage: A Mojo Model for Data-Driven Storytelling

Semantic Crowdsourcing of Soundscapes Heritage: A Mojo Model for Data-Driven Storytelling

Popular Music and the Anthropocene

Ecological Sound Art: Steps towards a new field

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