Titlebook: Sound, Media, Ecology; Milena Droumeva,Randolph Jordan Book 2019 The Editor(s) (if applicable) and The Author(s) 2019 acoustic.urban.envir

青春期

和平主义者

Sound, Media, Ecology: Introduction in Three Acts, the World Soundscape Project (WSP) under the direction of composer R. Murray Schafer. In this introduction to the volume, the editors re-center “acoustic ecology” and the ways in which the contributors in this collection are rethinking and re-inventing acoustic ecology across diverse fields, drawin

CEDE

FOVEA

The Disruptive Nature of Listening: Today, Yesterday, Tomorrowundscape Project (WSP), and decades of work as a soundscape composer—a sensibility that is a practice, a metaphor for research and an active force of engagement with the conditions of modern life. The introduction offers a definition of what is meant by the disruptive nature of listening. This chapt

erythema

neutrophils

圆锥体

Nothing Connects Us but Imagined Sounds’ capacity to seemingly open a window onto elsewhere and else-when seems to grant them a power to stand as evidence, as proof, as documentation that something happened somewhere. This chapter addresses the function that field recordings have played in media practices aimed at creating and sustainin

Indict

我的巨大

Acoustic Ecology and Ecological Sound Art: Listening to Changing EcosystemsThis is a cultural crisis that requires interdisciplinary action to mobilise communities and inspire collective action. This chapter seeks to examine two creative works resulting from the author’s research projects to highlight the influence of acoustic ecology on personal artistic practice. These c

Adulterate

Listening to Renewable Energy Technologiests drawn from the field. The research draws on three years of listening within several unique soundscapes with very different natural landscapes: the southern region of Iceland and the northeast region of Spain. Each space contains significant sites of renewable technologies from hydroelectric power