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Augus , 2021
Tese de Dou o amen o em
Es udos A ís icos – A e e Mediações
Wayback Sound Machine: Sound Th ough Time, Space, and Place
Maile Nicole W is on Colbe
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Thesis submi ed o ul ill he equi emen s necessa y o ob ain
he PhD deg ee in Es udos A ís icos – A e e Mediações, held unde he
Scien i ic guidance o : P o esso Ma ia I ene Apa ício, FCSH-IFILNOVA
Co-ad iso : P o esso Ca la Mon ez Fe nandes, FCSH-CLUNL
Co-ad iso : Doc o Jo dan Lacey, RMIT
Maile Colbe
PhD Fellow in A is ic S udies-A and Media ions
Faculdade de Ciências Sociais e Humanas, Uni e sidade No a de Lisboa
mailecolbe @gmail.com
www.mailecolbe .com
Apoio inancei o da FCT e do FSE no âmbi o do III Quad o Comuni á io de Apoio.
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Dedica ed o…
My daugh e , Ode e, whose joy
and wonde has been wi h me
e e y s ep o his jou ney.
And E helyn Ca ol Colbe ,
whose joy and wonde
is deeply missed.
(Janua y 17, 1925 – May 12, 2019)
Dedica ed also o…
R. Mu ay Scha e , whose passing occu ed
On he same day o his hesis comple ion.
In g a i ude o e e y hing he ga e o he wo ld,
His wo k and wo ds we e a beginning
To his pa h, and I am g a e ul.
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Thank you
Thank you o Slide Clemen s, o s a ing me o igh on his sonic jou ney wo decades ago.
Thank you o my amily…my mo he , P o . Jaimee W is on Colbe o cul i a ing and nu u ing a
deep and las ing lo e o books and wo ds; my a he , D . Donald A. Colbe , o he cu iosi y ha
d i es a lo e o esea ch; my b o he s, Ian Colbe , and Na e Colbe , o hei lo e and ca e o
na u e and ecology. My ex ended amily o chee ing me on om all o e geog aphy. My iends o
hei pa ience and unde s anding.
My colleagues a FCSH-NOVA, Es udos A is icos, and IFILNOVA-CineLab.
Filmmake s Cou ney S ephens, Pacho Velez, T ang T an, Kelly Sea s, Isabelle Ca bonell and Sa ah
Cannon, o le ing me expe imen and analyze he Wayback Sound Machine wi h you ilms,
and especially I ene Lusz ig, may many ilms be in ou u u e.
Da id Velez and Miguel Isaza a Sonic Field, o allowing and us ing me wi h he ela ed se ies.
P o esso Ma ia I ene Apa ício o belie ing in me and his wo k, o seeing and hea ing i when i was
s ill so ough and wild, o guiding me o shape i in o wha i should be…e e nal g a i ude!
D . Jo dan Lacey, o coming on o he p ojec when I ealized I eally needed s onge au al
g ounding o he wo ld, and o a ec i e sonic ecologies and sonic up u e.
And P o esso Ca la Mon ez Fe nandes
Wi h g ea g a i ude, I hank Albe O ega, Ana Ca alho, Ana Mon ei o, And ea Williams, And ew
Te zla , Apicha pong Wee ase hakul, Be nie and Ka K ause, Budhadi ya Cha opadhyay, Ca he ine
Clo e , Cou ney S ephens, C aig Gilmo e, Da id Vélez, E ic Leona dson, Hildega d Wes e kamp,
I ene Lusz ig, Isabel A. Fe ei a Gould, Jenni e Heuson, Jenni e Lynn S oe e , Jenny G a , João
Quin ei o, João Má io G ilo, Kade Kuhne, Kelly Sea s, Luís Gomes da Cos a, Makis Solomos,
Man ico Mon e o, Ma ga ida B i o Al es, Ma i a S u ken, Ma k S ee , Michael Gi land, Miguel Isaza,
Mi iam Kola , Pacho Velez, No be o Gomes da Cos a, Ra aela Sal ado , Raquel Cas o, Rebecca
Ba on, Ri a Cas o Ne es, Rui Ca alão, Ru hie Wilson Gilmo e, Sand a Camacho, So ia Pon e, Susana
Mouzinho, and he Radical Sel -Qua an ine g oup
Thank you o, and please o gi eness, anyone I o go on his page…especially he one who
ecommended making a lis h oughou he yea s, so as no o o ge , hank you, and I should ha e
lis ened!
And mos o all, hank you o my pa ne , Rui Colbe Cos a, who ne e had a doub , and would emind
me o ha any ime I needed i .
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Abs ac
Wha can we ga he om sounding he pas ? This in e disciplina y a s udies p ojec will
esea ch a ious o ms o sound om he pas , and designing sound o he pas , o conside
wha knowledge and applica ions can be gained om he concep , pa icula ly wi hin a
cul u e and cul u al his o y in which he isual is p edominan wi hin a seg ega ed senso y
hie a chy in media ing ou pe cep ion o he wo ld a ound us. Wi hin ha , his hesis p oposes
ha he ela ionship be ween ou soundscape and c ea i e sound design can gi e us key
in o ma ion abou how we lis en, wha we lis en o , and wha ha can ell us. This hesis will
show ha his in o ma ion holds bene i s and con ibu ions owa ds many
disciplines-including a and cinema, a chi e s udies, e hnog aphy, and ecology-which will be
in es iga ed in-dep h h ough p ac ice-based esea ch, case s udies, philosophical inqui y, and
a new pa h in sound s udies connec ing soundscape ecology, sound e hnog aphy, sound a
and design, and au al cul u e.
KEYWORDS: A is ic S udies, Sound S udies, Film Sound S udies, Sound E hnog aphy,
Soundscape Ecology, Ecophilosophy, Acous ic Ecology, Sound A chi es, Memo y S udies,
Sound Design, Au ali y, Au al Cul u e.

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Index
Chap e I: In oduc ion: Wha can we ga he om sounding he pas , and wi hin
ha , wha is he ela ionship be ween soundscape and sound design?.......................10
I. 1. Wha pas ? A iangle o sonic ime……………………………………15
a. Pe cep ion: ime and place o sound………………………………16
b. Nos algia and memo y…………………………………………….27
c. P esen a ion and ( e)p esen a ion: his o y and he i age……….......29
I. 2. Me hodologies:
a. Lis ening o he pas à a c i ical au ali y……………...….............34
b. Composing he pas à a c i ical sound design, a c i ical ea ..........38
I. 3. Soundscape...............................................................................................42
a. Acous ic ecology and soundscape ecology......................................43
b. Sound e hnog aphies and ecologies.................................................44
I. 4. Soundscape à lis ening...............................................................................48
a. Lis ening and Deep Lis ening: A phenomenology o lis ening, o
ime, space, and place...........................................................................49
b. The Biophony and IBEs..................................................................52
c. In oduc ion Conclusion, he pa h....................................................54
Chap e II: Soundscape
à
lis ening
à
composing and compiling.........................56
II. 1. Fu u e Memo y: Lis ening and he wombscape.....................................57
a. Womb lis ening................................................................................59
b. Lis ening owa ds lea ning...............................................................61
c. (Re)collec ing he Wombscape........................................................62
II. 2. Soundwalks o access ime, space, and place..........................................65
a. The i s Wayback Sound Machine..................................................67
b. Radio Te amo o and a His o ical Soundwalk.................................69
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c. Soundwalk-walk: Lis ening backwa ds, mo ing o wa ds..............72
II. 3. Field Reco ding and Phonog aphy: A chi e o ming and a chi e using–
ime in he medium...........................................................................................79
II. 4. Musique Conc è e and he Acous ma ic, a sonic haun ology..................86
II. 5. Collec ions and conclusions: he sonic cons ella ion and he au al
hizome.............................................................................................................90
a. Wayback Sound Machine in a Sonic Field, a cu a ed collec ion o
hough s and heo ies on sound he pas ...............................................91
b. Sonic Rup u e and Sonic Rap u e, Towa ds a Sonic Ecosophy in
Sound Design.......................................................................................98
Chap e III: Soundscape
à
lis ening
à
composing and compiling
à
sound
design (and sound a ) .............................................................................................123
III. 1. A case o case s udies: A is ic wo k wi h he Wayback Sound
Machine.........................................................................................................124
a Blinding he pe o me , uning he audience (Come Kingdom
Come) ................................................................................................126
b. Nos algia and Place (Passagei a em Casa & Passagei a aus alis)
...........................................................................................................129
III. 4. Re i al and e-enac men , ano he sonic haun ology and he au al
uncanny alley...............................................................................................132
Chap e IV: Soundscape
à
lis ening
à
composing and compiling
à
sound
design
à
pas ...........................................................................................................140
IV. 1. Wha is he a chi e’s ole in sounding he pas , and whom does his
gi e oice o?.................................................................................................141
IV. 2 Silence and silen ilm, a oice om he pas .......................................142
IV. 3 Sounding he pas owa ds a u u e memo y........................................146
a. Gi ing Voice e sus Gi ing a Place o Lis en: I ene Lusz ig, The
Mo he hood A chi es and You s in Sis e hood.................................147
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b. Echoes o Time in he Walls: Pacho Velez and Cou ney S e en’s
The Ame ican Sec o ..........................................................................155
c. Sound Su ey: Why is sounding he pas /sound om he pas
impo an o you wo k?....................................................................158
Chap e V: When E e y hing Became Wayback, sound in he ime o Co id-
19....................................................................................................................167
V.1. Sounding Ou C isis, Pa 2....................................................................168
Chap e VI: Conclusions.........................................................................................178
Bibliog aphy.............................................................................................................187
Table o Figu es........................................................................................................199
Annex.........................................................................................................................210
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pas unless we cease o hink o i as an inaccessible objec o a i ac ozen in a
p og ession o ime.
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(Benjamin, p. IX).
I is an image o he pas ha uels us wi h he desi e o c ea e na a i es o
gods and angels, he powe o sh ink us down o no hing and make us ques ion
exis ence i sel , ha allows us o p ojec ou own humani y upon i . An image om
he pas , now no longe . Bu li ing and p esen in ou own expe ience o i , ha is
how we pe cei e and eel i , ha powe and ha na a i e coming om wi hin us in
conjunc ion wi h ou au al p esen su ounding us a he momen o expe ience, ou
soundscape. I we combine ha wi h he knowledge ha i was once, is no longe , we
ha e a powe ul e en . This is a li ing a chi e, a up u e in how we hink we
expe ience a p ocess o p og ess o e en s. And as we a el u he in o i wi h bo h
ou imagina ions and echnology, we a e e en beginning o ha e he abili y o hea i ,
and o i o be hea d.
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And looking a he al eady gone ligh o s a s is like
expe iencing ime in sound, al eady a ace o wha was emi ing, wi h he cap u e o
he p esen , and expansion owa ds he u u e. Lis ening o a momen like his, how do
we hink abou i s ime?
I.1.a. PERCEPTION: ime and place o sound
Hen i Be gson desc ibed, he “momen when he ecollec ion (…) is capable
o blending so well wi h p esen he pe cep ion ha we canno say whe e pe cep ion
ends o memo y begins.” (Be gson, 1911, p. 106) Sound pe cep ion is mul i- ie ed.
“In he same men al phenomenon in which he sound is p esen o ou minds, we
simul aneously app ehend he men al phenomenon i sel .” (B en ano, 1874, p.
179) Philosophies o sound can be use ul in conside ing ime. While mos
philosophies ocused on pe cep ion mos ly p i ilege he isible (as we cogni i ely
o en p i ilege he isible), hough s owa ds sound pe cep ion, and u he sound
11
!"Whe e!we!see! he! appea ance! o ! a! chain! o ! e en s,!he!sees! one! single! ca as ophe,! which!
unceasingly! piles! ubble! on! op! o ! ubble! and! hu ls! i ! be o e! his! ee ! [...]! Tha ! which! we! call!
p og ess,!is! his!s o m."!(Benjamin,!p.!IX)!!
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!The! soni ica ion! o ! he! s a s! h ough! NASA’s! Keple ! p ojec ,! a! building,! li ing! a chi e:!
h p://keple .nasa.go /mul imedia/Audio/soni ica ion/!
!
!

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wi h ision pe cep ion, e eal he complexi y o he empo al na u e o sound, and i s
ela ionship o space and place. “Wha is mo e, we app ehend i in acco dance wi h i s
dual na u e inso a as i has he sound as con en wi hin i , and inso a as i has i sel
as con en a he same ime.” (B en ano, 1874, p. 180)
Bu wha a e we app ehending? A e hey objec s? A e hey emissions? A e
hey p ope ies o objec s, o e en s? I we know wha hey a e, hen whe e a e hey?
Whe e hey a e hea d, o whe e hey a e emi ed? We don’ cu en ly ha e di ec
answe s o hese ques ions, and i is exac ly ha ambigui y ha can make sound so
compelling, bonds i o he a wo ld, and ende s i a cons uc i e heme o
philosophical discou se. Sound does no i nea ly in o ou wo ldly ules, and while
his o y ells us we ha e unde s ood he biology and ana omy o he ea , and i s basic
unc ions o a e y long ime–A is o le pos ula ed a heo y ha he inne ea was
illed wi h a special pu i ied ai , ae ingeni us, hen in 1761 Domenico Co ugno
disco e ed h ough dissec ion i was luid a he han ai , and concluded in his
disse a ion, De aquaeduc ibus au is humane in e nae ana omica, (1761) ha he e
we e acous ic ne es suspended and oscilla ing like s ings o ansmi he sensa ion
o hea ing o audi o y cen e s in he b ain–we s ill canno easily de ine wha exac ly
sound is, o a wha poin , i.e. when, sound is. Is i he poin whe e an e en pushes
ai bo ne wa e o ms owa ds he hea ing ea ; he poin hose wa es en e he ea and
con e he wa e o ms in o elec ochemical signals ha a e hen ansmi ed o and
p ocessed by he audi o y pa hways o he b ain, o he poin o ha p ocessing i sel ?
This is he ac o hea ing: pe cei ing sound.
Ou his o ies o sound pe cep ion and ligh pe cep ion a e e y di e en .
P o esso Nicolas Wade asked he audience a he 2016 In e na ional Con e ence on
S e eo & Imme si e Media in Lisbon, “Why a e so many pages gi en o ision han
hea ing? Because we ha e known mo e abou he na u e o sound han ligh . Vision
possessed mys e y and he p oblem”. (Wade, 2016) He ga e some examples o ea ly
hough on sound:
• (570-490) Py hago as demons a ed he ma hema ical ela ionship be ween
he undamen als o ib a ing s ings and ha monics.
• (384-322) A is o le heo ized abou displaced pa icles.
• (1564-1642) Galileo Galilei heo ized abou he pi ch o ib a ing s ing.
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• (1618-1663) F ancesco Ma ia G imaldi sugges ed ligh migh ope a e like
sound p opaga ing wa es h ough a medium, be o e New on.
• (1756-1827) E nes Chladni “ a he o acous ics” and Thomas Young
(1773-1829). Published ex s de ailing knowledge o sound p oduc ion,
p opaga ion, and ecep ion, as well as he speed o sound.
• (1774-1842) Cha les Bell Sco ish, an ana omis on hea ing.
• In 1827 Cha les Whea s one p oduced he i s binau al augmen ing
ins umen , be o e he s e eoscope, he called a “mic ophone” (He coined he
ph ase, bu Be line in en ed he mode n mic ophone in 1876) He knew
sound was ansmi ed by wa es h ough mediums, and his de ice ampli ied
weak sounds.
13
In hei magazine, Explo a ions, Ma shall McLuhan and Edmund Ca pen e
w o e, “Un il w i ing was in en ed, we li ed in an acous ic space (…) Speak ha I
may see you. W i ing u ned he spo ligh on he high, dim Sie as o speech, w i ing
was he isualiza ion o acous ic space.”
14
(Ca pen e , 1973, p. 35) Wal e J. Ong
heo izes he in en ions o w i ing and hen p in ing u ned an o al wo ld in o a isual
space, locking wo ds in o a isual ield. (Ong, 1991. p 117) Hea ing dominance ga e
way o isual; pe cep ion is in pa cul u al. Sound didn’ p opose as much mys e y,
un il we go o pe cep ion, whe e mos o he sound pe cep ion heo ies a e bo owed
om ligh pe cep ion.
I we ake i ou o he isual ealm philosophy o pe cep ion is changed and
challenged. Though some o he mos compelling heo ies o sound we e bo owed, a
leas in s a , om heo ies o pe cep ion o colo . Con empo a y philosophe Robe
Pasnau’s wo k in sound pe cep ion s ems om his (Pasnau, 1999; 2000), and an
in eg al s eam wi hin my own hesis he e is based on bo owing e ms in isual
13
!Wade,! Nicolas.! (2016,! Oc obe ! 27-29).!Seeing- wi h- wo- eyes- and- hea ing- wi h- wo- ea s.!
In e na ional! Con e ence! on! S e eo! &! Imme si e! Media! 2016,! Lisbon,! Po ugal.!
h p://s e eoimme si emedia2016.uluso ona.p /!!
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!Ca pen a ,!Edmund.!(1973).!Si ed!in!Eskimo-Reali ies.!New!Yo k:!Hol ,!Rineha ,!and!Wins on.!
p.!35!
19
cul u e,
15
o be applied owa ds an au al cul u e. This is an a gumen no agains a
isual philosophy, bu a he owa ds a sound and ision philosophy (cinema), o be
ully challenged (e en ually) wi h combining philosophies o pe cep ion o o he
senses, un il we ha e a whole philosophy o pe cep ion ha isn’ inhibi ed by he
limi ing o he adi ional i e senses o di ided by he ca ego iza ion o “seconda y
quali ies”, o quali ies dependen on “p ima y quali ies”–shape, mo ion, a angemen
o minu e pa icles. Seconda y quali ies ha e he “powe s o p oduce a ious
sensa ions in us”. (Locke, 1690; chap. VIII, sec. 10). While I belie e he di ision o
p ima y and seconda y is deeply p oblema ic,
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Locke s ill gi es powe o he
seconda y quali ies as a powe o sensa ion, which is expe ience, he basis o wha
ills ou mind wi h ideas as we g ow.
I is wo h men ioning ha he e a e ou me hods iden i ied by Casey
O’Callaghan in his en y "Audi o y Pe cep ion", in The S an o d Encyclopedia o
Philosophy, (2018, pa a. 6-8) ha can be use ul o conside when wo king owa ds
philosophies o pe cep ion ha a e inclusi e o senses ou side he isual ealm. These
a e as well excellen e ms when speaking on sound design, and I will be using hem
h oughou his wo k:
1. T ansla ion: in o ma ion om isual pe cep ion s udies owa ds au al
2. Ex ension: when conside ing isual pe cep ion, an ex ension o non-
isual modali ies may expose phenomena unde ec ed isually
3. Challenge: compa a i e s udies o si ua ions whe e ansla ion and
ex ension does no ma ch be ween he isual and o he sense [an example
o his is he acousma ic as desc ibed by Michel Chion, audio posi ioned
nei he inside no ou side he image (1994, pp. 128-31; 1999, pp. 17-57;
2016, pp. 139), which will be explo ed h oughou his hesis]
15
!Visuali y,! as! de ined! by! Nicolas! Mi zoe ! in! “The! Righ ! o! Look”,! is! “an! old! wo d! o ! an! old!
p ojec !(…)!an!ea ly!nine een h-cen u y! e m,!meaning! he! isualiza ion!o !his o y.”!The!p ac ice!
is!“imagina y”,!no !“pe cep ual”!as!wha !is!being! isualized!is!subs an ial!and!collec i ely!seen,!
c ea ed! om!“in o ma ion,!images,!and!ideas.!This!abili y! o!assemble!a! isualiza ion!mani es s!
he! au ho i y! o ! he! isualize .”! (Mi zoe ,! 2011,! 474)! He! quo es! Ranciè e! in! ha ! isuali y!
p esen s!au ho i y!as!sel -e iden ,! ha !“di ision!o ! he!sensible!whe eby!domina ion!imposes! he!
sensible!e idence!o !i s!legi imacy.”!(Ranciè e,!1998,!p.!17,!as!ci ed!in!Mi zoe ,!2011,!475)!
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!As!well!I!do!no !belie e!we!a e!bo n!in o! he!wo ld!wi h!no!inna e!knowledge;!I!will!go!in o! his!
u he !on!in!Chap e !2,!whe e!I!will!explain!how!we!al eady!begin!lea ning! h ough!sensa ion!in!
he!womb,!and!sound!is!a!majo !elemen ! o! his!ea lies !lea ning.!
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4. Uni ied app oach: applies in a gene al manne o all pe cep ual
modali ies.
I is in e es ing o conside whe he he uni ied app oach e en exis s; o , in a
manne close o wha his hesis a gues, whe he an app oach ha conside s uni ied
modali ies and u he s hem owa ds ex ension and connec ion, may allow us a ulle
glimpse in o how we pe cei e ou wo ld. This p ojec will be conside ing hese said
me hods as well in he p ocess o applying Visual Cul u e me hodologies owa ds an
Au al Cul u e, and a c i ical au ali y.
A philosophy o he pe cep ion o sound can each owa ds a “ u he
insigh s abou he na u e, objec s, con en s, and a ie ies o pe cep ion,” when
conside ing hei spa ial, causal, and empo al quali ies. (O'Callaghan. 2016. pa a. 2)
This hesis will also make he case o he ac o lis ening o be included wi hin a
sound philosophy: o hink abou gi ing one’s a en ion o a sound–a decisi e ac ion–
and highligh ha unde he mo e gene al de ini ion o hea ing, he acul y o pe cei e
sounds.
Th ough Theo ies o Sonic Pe cep ion
We can begin an o e iew o heo ies o sound pe cep ion wi h a use ul
ounda ional en y, “Sounds”, om Casa i and Dokic in The S an o d Encyclopedia o
Philosophy, which o ganizes issues o sound pe cep ion h ough spa ial p ope ies,
including: p oximal, om whe e he hea e is (e.g. ha ee alling in he o es would
no ac ually make a sound wi hou he hea e he e); (2014, chap. 1.2) medial, wi hin
he medium o he esona ing objec and hea e (e.g. wa es in ai , wa e , sola
plasma); (2014, chap. 2.1) dis al, which loca es sound a he esona ing objec (e.g.
like colo s and shapes, conside ed o en o be a p ope y o he ma e ial objec ),
(2014, chap. 3.1) and aspa ial heo ies ha ha e no spa ial ele ance a hei co e.
(2014, chap. 4.2) This sec ion will go in o hese heo ies b ie ly, bu no exhaus i ely,
as I belie e ha he e is u h and use ul explana ion in all o hem, bu ha he
sepa a ion o ca ego y, like he sepa a ion o senses, is whe e we can ge s uck. An
example ha will come up o en in his wo k is how eco dings, and hei la e uses
and e- eco ding, h ows ca ego ies o ime and space in o ques ion.
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I hea , he e o e he e is sound. P oximal heo ies o sound hold a hei co e
he psychology o pe cep ion ha conside s sounds as sensa ions ha a e p ope ies o
each hea e . This de ines he sound as he sensa ions ha a e p oduced when he
sound wa es en e he ea , as he objec s o audi ion. This speaks o he subjec i i y o
sound, as an example; we all hea di e en ly based on he ela ionship o space
(exp essed sonically h ough dis ance, echo, e e be a ion, and o he il e s) be ween
he sounding objec and us. (2014, chap. 1) The medial heo ies imme se bo h
sounding objec and hea e in an elas ic and ib a ing medium. The sounding objec
c ea es a dis u bance in he medium, se ing o wa es o pa icles in back-and- o h
mo ion, bumping in o each o he and se ing o ano he wa e a a ce ain equency
and ampli ude–a comp ession and dep ession pa e n–losing ene gy o e ime and
dis ance. (2014, chap. 2)
This b ings us back o A is o le and his heo y o sound as mo emen o
ai .
17
Ea ly heo ies led o he wa e heo y.
18
Renè Desca es w o e in Passions o he
Soul, ha we do no hea he ac ual sounding objec sounding, bu a he mo emen s
coming om hem ha hen “exci e some mo emen in ou ne es which by hei
means pass o he b ain (…) cause di e se pe cep ions o become e iden o ou soul.”
(1649, p. 11) When I ini ially s udied sound physics, I aligned mysel mo e wi h wa e
heo y, as he e is some hing eloquen o i s connec ion be ween he sounding objec ,
he medium, and ou ea , on a p opaga ion line. Bu he e a e some challenging
c i iques o he heo y as well, o example me ame ic sounds ha eel he same o he
ea ; le ’s say in pi ch, hough he p ope ies o he mediums hey a elled in a e
di e en .
19
And we migh ask whe e is he sound hen, when sepa a ed om i s
sounding objec and in mo ion? And would his mean sound is s ill dependen on i s
sounding objec o make i a sound in ha medium, o s a he p ocess? Would ha
ende sound a p ocess ha connec s i as a se ies o e en s in ime?
17
!On- he-Soul,!420b!10:!“sound!is!a!pa icula !mo emen !o !ai ”!
18
!!“Sounds!a e!p oduced!and!hea d!by!us!when…a! equen ! ib a ion!o !ai !shaken!in! iny!wa es!
mo es! a! ce ain! ca ilage! o ! he! ympanum! in! ou ! ea …! he! mo e! equen ! he! ib a ion,! he!
highe ! he! pi ch;! he! less! equen ,! he! lowe .”! (Galileo,! 1623).! Bu ! Galileo! also! suppo ed!
p oximal! heo y,!pe haps!wisely!sensing! he!complexi y!a !hand.!
19
!! Casa i,! Robe o! and! Dokic,! Je ome,! "Sounds",!The- S an o d- Encyclopedia- o - Philosophy-(Fall!
2014!Edi ion),!Edwa d!N.!Zal a!(ed.).!While!I!ha e!seen! his! heo y!s a ed!mul iple! imes!in!my!
eadings!on!sound!pe cep ion,!I!ha e!ye ! o!see!an!ac ual!example!o !s udy!ci ed.!I !seems!a!case!
whe e!colo ! heo y!has!been! ansla ed,!bu !I’m!skep ical! ha ! his!a gumen !could!be!applied!
wi h!s eng h.!

22
Tha ge s complica ed when we conside ha sound pe cep ion loca es sound
as whe e he sounding objec is, and he e a e a gumen s as o whe he ha sense o
“cen e ” is mo e sense o loca ion (e.g., a sense o bo h dis ance om hea e and
di ec ion), o di ec ion alone; and o how much o his is an audi o y illusion. (Casa i
& Dokic, chap. 2.3.3.) Bu cen e could be conside ed o igin, and no pu e
phenomenon–we know he e is a sounding objec ; we know his is an o igin, and
some imes ou pe cep ion di ec s us o i as he cen e o which he soundwa es a e
expanding om. (So ensen, 2007, chap. 13) Bu no always. The e is also he
conside a ion o a dis inc ion be ween sou ce medium, and en i onmen medium. The
sou ce would be he ac ual ma e ial o he objec sounding, di e en ia ed om he
medium he wa es hen a el h ough be o e being ecei ed.
20
This all ge s hen
u he complica ed when conside ing eco dings, which I will add ess la e in
Chap e 2.
Conside ing wa es in sou ce medium b ings us o he doo o he dis al
heo ies o sound; one o which ames sounds as p ope ies o ma e ial objec s, like
shape, o (many hink) colo s. The ac ual P ope y View has immedia e, hough in
pa seman ic, p oblems wi hin he idea ha objec s p oduce sounds ( hough, clea ly
in a way mos do). Bu he ela ed E en Theo ies a e in e es ing and ele an o
explo e he e–sound as loca ed and empo al e en s.
21
Loca ed E en heo y has sounds loca ed a hei sou ce h ough loca ed
ib a ion p ocessed. (Casa i & Dokic, chap. 3.2) Casa i and Dokic (1994) heo ize
ha a medium is equi ed which ansmi s in o ma ion om a ib a ing objec o he
hea e , ye he medium ha ansmi s is no essen ial o he ac ual exis ence o he
sound; sounds a e ei he e en s o ex ended p ocesses in ime, wi h a beginning and
end. I we conside he uning o k example, in his heo y i begins o ib a e and
ends i s ib a ions whe he imme sed o no in a ib a ing medium, he medium
simply e eals in audi ion. This places he sound in a clea ime ame, whe he hea d
20
!A!use ul! example! is! a! uning! o k,!which! will! be! a! sounding! objec ! ha ! will! be! e u ned! o!
mul iple! imes! in! his! hesis! and!was! an! in eg al! pa ! o ! he! sound ack! o ! one! o ! he! case!
s udies,! speci ically! o ! cha ac e is ics! and! p ope ies! o ! ela ionship! be ween! i sel ,! as! a!
sounding!objec ,!and!i s!en i onmen .!
21
!Casa i,!Robe o,!Dokic,!Je ome!and!Di!Bona,!El i a,!"Sounds",!The-S an o d-Encyclopedia-o -
Philosophy-(Summe !2020!Edi ion),!Edwa d!N.!Zal a!(ed.),!URL!=!
h ps://pla o.s an o d.edu/a chi es/sum2020/en ies/sounds/!!
23
o no .
22
Howe e , p oblems a ise again, when hea d, o loca ion–some sounds s ill
elude loca ion, and wa e heo ies allow his. This ge s in e es ing when we conside
eco ded sounds, and especially sound design, which uses disloca ion and misloca ion
o sounds o a ec pe cep ion. John Kul icki akes his a s ep u he in he
Disposi ional View, s a ing ha ; “sounds a e disposi ions o objec s o ib a e in
esponse o being s imula ed. Sounds a e pe cei ed ansien ly, bu hey a e no
pe cei ed as being ansien and hey a e no in ac ansien ” (Kul icki, 2008b, p. 2)
As colo is essen ially he esul o an objec s imula ed by ligh , comp ession wa es
(sound) a e a esul o an objec s imula ed by an impulse con aining ele an
equencies, o wha Kul icki calls onoma opoeically, a “ hwack”. (2008b, p. 4) The
hwack e eals he sound in he objec by s imula ing he equencies i esponds
be e o (again, hink uning o ks). Kul icki claims, “objec s sound oughly he same
whe he i is whi e noise [i.e., an impulse] o some hing easonably a om i ha
s imula es hem”. (2008b, p. 9)
This au al cons an wi hin a sound ield will be a poin e u ned o when I
b ing up u he on In o ma ion Bea ing Elemen s, o IBEs. Disposi ional Theo y also
seems o e eal a spec um o disposi ional cons an s, including cons an
cha ac e is ics o a ack pa e ns, decay pa e ns, ib a ion pa e ns, pa e ns when
ubbed o b ushed, o b oken– hese pa e ns seem o bo h suppo he heo y ha he e
a e s able sound cha ac e is ics o objec s, as well as endo sing he heo y ha he e
a e o he unhea d sounds in ol ed–wi hin he disposi ional accoun –“in isible”…an
idea ha will be explo ed in some o my case-s udies u he on. (Kul icki, 2008b, p.
14)
So, a hwack e eals a sound–and hen? Wha is he hing ha happens a e ?
And wha i he ini ial sound is ou side he cons an , as happens some imes? Wha o
eco ded sound, o ansmissions, whe e he e is dis ance om he sound made?
Kul icki calls hese hea ings. (2008b, p.8) Sepa a e bu a ached by causali y o he
sound as disposi ion, we expe ience episodes o hea ing he disposi ional sound, and
he sense o he sound las ing pas i s hwack, o wha e e sounded i , is an imp ession
(pe haps like a eco ding). The Rela ional E en Theo y gi es a bi mo e weigh o
ha hea ing momen , a hyb id heo y holding sounds as ela ional e en s in ol ing
22
!Ibid.!
24
bo h sou ce and su ounding medium. (O’Callaghan, 2007, pp. 65-66, 70)
O’Callaghan pos ula es ha when A is o le desc ibes in On he Soul sound making as
happening because some hing s ikes some hing else in some hing, which s ikes
some hing else again, “and his las is ai ”, he mean ha sound is no mo emen o
ai , bu a he a dis u bing e en on a medium om a ib a ing objec ha se s i
mo ing. The sounds depend exis en ially on he dis up ion o ha medium. (2007, pp.
60-61)
All o hese heo ies in o m my wo k in di e en ways, as I will show
h oughou his hesis. They will come up again, and he p oblems wi h each ende
hem o me no lawed, bu incomple e wi h missing pieces. O a he , hey a e pieces
hemsel es o a whole ha is on a le el we ha e no been able o ye imagine o pu
oge he , mos likely due o ou own limi ed pe cep ion–we can only e en sense
sound on a limi ed spec um. I we conside wha we call a e age human capaci y o
hea ing alone, we’ e in he e y much-gene alized ange o 20Hz o 20 kHz, which is
lea ing ou he Dea ,
23
he ecen ly-dea , and hea ing loss by aging and inju y–abou
i e pe cen o he wo ld’s popula ion, o 360 million people.
24
Hea ing loss is also on
a spec um, eally none o us hea he same, and his is o a my iad o easons ha
will be explo ed h oughou he hesis, om mechanical o cul u al, wi h many in-
be weens. Hea ing is subjec i e, so any heo y ha holds hea ing as he poin o
sound, needs o emb ace ha complexi y.
Wha can happen i we do away wi h holding sound pe cep ion o space and
y o hink abou sound non-loca ionally? Aspa ial heo ies don’ comple ely do away
wi h space bu y o esol e he back and o h o sound pe cep ion heo ies ha ping-
pong be ween he sounding objec and/o audi o y pe cep ion as in insically special.
Fo example, philosophe B ian O’Shaughnessy does no belie e ha sound has no
spa ial quali y, bu ha , “while we ha e he audi o y expe ience o hea ing ha a
sound comes om (poin ) p, we do no ha e any expe ience ha i is he e whe e i
23
!Dea ,!wi h!a!capi al!D,!is! he!p e e ed!desc ip ion! o ! hose!who!a e!p e-linguis ically!dea ,!
hei !whole!li es,! a he ! han! hose!who!became!dea !la e !in!li e,!a e !language!acquisi ion.!Fo !
someone!who!is!Dea ,!sign!language!is! hei ! i s !language.!
24
!McPhillips,!Elena.!2016.!Wo ld-Wide-Hea ing-Loss:-S a s- om-A ound- he-Wo ld.!Re ie ed!
Janua y!7,!2019:!h ps://www.audicus.com/wo ld-wide-hea ing-loss-s a s- om-a ound- he-
wo ld/!
!
25
now sounds”. (O’Shaughnessy, 2000, p. 446) The e is also he conside a ion o ou
own in e ence, ou knowledge o hings and happenings wi h how sound basically
wo ks: “…awa eness o en i onmen al hings and happenings hanks o audi ion is
epis emically media ed by awa eness as o sounds and audi o y objec s, bu does no
i sel cons i u e audi o y pe cep ual awa eness as o hose hings and happenings.”
(O’Callaghan, 2016, chap. 2.3.1) This will again be la e discussed wi h In o ma ion
Bea ing Elemen s.
Which does his hesis suppo , o a he b ing in o a gumen ? In a way–in
a ied, pa icula ways–I will b ing in suppo om all o hem, and connec his o
he Acous ic Niche Hypo hesis and In o ma ion Bea ing Elemen s, aking in o
accoun a ull soundscape, which includes wi hin he an h opophony (en i onmen al
sounds ha a e c ea ed by human beings), he biophony ( he acous ic en i onmen
o en hough o as “na u al” and including animal sound), and geophony (non-animal
sounds such as wea he and wa e ); (K ause, 2008, pp. 73-80) objec , medium, and
hea e . E en Theo y unde Aspa ial Theo ies o sound pe cep ion can be especially
use ul wi h his. I we conside he on ology o lis ening o ou soundscapes wi h he
on ology o lis en o music–on ology o hea sounds as music–we can hea sounds as
e en s o whose happening is h ough ou pe cep ion, hough no comple ely elian
on i . (Sc u on, 2009, pp 28-30, 57-58) E en u he and lipping Sc u on’s a gumen
a bi , we can conside he p obabili y, as K ause p oposes, ha lis ening o ou
en i onmen is wha ac ually and ini ially shaped ou on ology o music and sense o
onali y wi hin i . “Humans, like o he animals in he wo ld, we e d awn o geophonic
oices because hey con ained undamen al messages: hose o ood, a sense o place,
and spi i ual connec ion.” (K ause, 2012, p. 39)
Like in colo pe cep ion, we could also allow o audi o y illusion, and wi h
so much subjec i i y, his illusion is an in eg al, cons an ly non-cons an pa o
audi o y pe cep ion. To pu simple, ou b ain seems o base ou pe cep ion o he
wo ld on ou sys em’s sampling o ha wo ld, o ganizing h ough pa e ns, and
some imes illing in he gaps.
25
Accep ing illusion–wha we call illusion–is accep ing
complexi y. Illusion by i s gene al use de ini ion is o en nega i e, o example an
25
!!!Jung,!Yoon!Mo!&!Shen,!Jackie!Jianhong.!2008.!“Fi s -o de !modeling!and!s abili y!analysis!o !
illuso y! con ou s“,! in!Jou nal- o - Visual- Communica ion- and- Image- Rep esen a ion,!Volume! 19,!
Issue!1,!Janua y!2008.!pp.!42-55!
32
audi o y, whe e he unhea d, he disappea ed, a e sounded and esona e wi hin he
lis ene s, pe haps p o oking hough ha leads o ac ion. (2018, p. 3)
Wha is pas ? We can p esen ha . We do i all he ime. P esen a ion: he
gi ing o some hing o someone; he manne o s yle in which some hing is gi ing o
displayed; om he La in p aesen a e, o ‘place be o e’. P esen is o be in a
pa icula place, o o be ully in ol ed in wha you a e expe iencing, happening now.
P esen a ion i he ac o p esen ing, some hing p esen ed such as a symbol o image
ha ep esen s some hing else; some hing o e ed o gi en; se o h o he a en ion
o he mind; o a pe suasi e and desc ip i e accoun ; an immedia e objec o
pe cep ion, cogni ion, o memo y. P ae: be o e, esse: be à p aeesse à p esen :
being a hand à p esen .
33
(Re)p esen . Rep esen : o b ing clea ly be o e he mind;
o se e as a sign o symbol o ; o po ay o exhibi in a , o depic ; o se e as he
coun e pa o image (and sound?) o ; o ac he pa o ole o ; o ake he place o o
ac in he place o ; o co espond o in essence; o se e as a specimen, an example; o
o m an image in he mind o app ehend h ough an idea– o ecall in memo y. Re-
p esen : o p esen again, o anew.
34
Wha can we ga he om sounding he pas ? Fo one hing a sound
philosophy o ime in ma e ial, and his wi h ision can explo e he powe ul e ec o
asynch onici y, and he acousma ic as desc ibed by Chion (1994, pp. 129-131; 1999,
pp. 17-57; 2016, pp. 139)– ha e ec o he disembodied sound o -sc een, like a
dei y, o pe haps wha S . Augus ine would call e e ni y. Time alluded o o conju ed
ou side he ame. The e m was i s used by Pie e Schae e o desc ibe lis ening o
musique conc e e, and sounds om he adio, eco ds, elephones, ape eco ds–
sounds ha one hea s wi hou seeing he causes behind i . (Schae e , 1966; Chion,
2009, p. 11) The opposi e o wha he calls di ec lis ening, when sound sou ces can be
seen. (Schae e , 1966; Chion, 2009, p. 11) The “audio isual complex”, as Chion
e ms audio- isual pe cep ion, is spli , isola ing he sound and changing he way we
hea . He el he expe ience educed sound o he ac and expe ience o hea ing alone,
c ea ing a “sound objec ,” and simul aneously a pe cep ual awa eness o he lis ene .
33
!De ini ions! om! he!Me iam-Webs e !Dic iona y.!
34
!Ibid.!!
!

33
(Schae e , 1966; Chion, pp 11-13) This concep is in es iga ed wi h some o he
a is ic case s udies in his p ojec as well.
Th ough ame and imme sion, ano he p esen a ion
While his hesis explo es media a chi es, and po en ial app oaches o a is s
wo king wi h hem, and he po en ial o sound wi hin hem, I w i e almos exclusi ely
wi h a concen a ion on ilm and ideo, and sound’s ela ionship wi h hose mediums
and he a is s wo king wi h hose mediums. The easons ha e o do wi h he
phenomenological na u e o ime-based media, and i s ela ionship wi h ime and
memo y, i s abili y o jump h ough ime and space, o s i ch oge he new imes, new
spaces. And i also has o do wi h ou impo an and complex ela ionship wi h he
ame, wi h he image wi hin he ame, and he sound ha ca ies us ou side he
ame. The pe cep ual ‘some hing’ is always in he middle o some hing else, i
always o ms a pa o a ‘ ield’”. (Me leau-Pon y, 1962. p 4) The ield, he ame.
We a e push and pull om he beginning, in cons an and luid lux wi h ou
bounda ies and es ain s. A young human will es ; will push o be pushed back, o
know wha bounda ies su ound hem, o eel hose bounda ies allows hem o push
hemsel es u he wi h a sense o sa e y. Bounda ies and bo de s a e impo an o us,
as much as we migh a imes an asize escaping hem, we keep coming back. A
ame, as a s uc u e, sepa a es he inside om he ou side, gi es us a dualis ic
imp ession o lean on. I c ea es a isible and angible bo de ha allows his o be
isualized wi hou ouch, om a a i we a he . I keeps, i emphasizes, and i de ines
a poin o iew. We can choose o pu some hing in i ; i is a slice o he wo ld we can
con ol. I can sh ink ou wo ld down o a size and s a e ha we can handle, in which
we can in es iga e, in which we can mas e . I gi es ocus o he wande ing eye. In
language, i does he same o an idea, u ging he plan, cons uc ing he shape. In
biology, i helps owa ds an idea o ou physical body as a whole, how we see he
shape o o he s, hen ou sel es, wi h ou pa s uni ed and sepa a e. In ilm and ideo,
i is he bo de ha encompasses wha he make wan s o be seen, and wha is
ansmi ed o he audience o see, he line a ound in en ion. In ilm and ideo, i is
also he s a ic image–one o 24 pe second, o 30 pe second, o 50 pe second, and so
34
on– ha in collabo a ion wi h ou eye and mind, he pe sis ence o ision, will c ea e
he illusion o mo emen , o change o e ime, so o ime i sel .
The ame in social science speaks o a social phenomenon in ol ing a se o
concep s and heo ies on how we o ganize each o he and ou sel es in eali y. Fo
example, a ame in hough could be an in e p e a ion o eali y, and a ame in
communica ion could consis o he communica ion o ha in e p e a ion o eali y
be ween wo ac o s. (D uckman, 2001, p. 225) The ame is pos mode n, wi hin all i s
an iqui y. A ‘schema o in e p e a ion’, collec ed h ough ime and expe ience o
biological and cul u al in luences, hen u ilized in he a emp o make sense o he
wo ld. This makes he ame sound wo dimensional, which is how we end o hink
o i i s . Bu a ame can also inc ease he capaci y o imme sion, allowing us o
ocus and go inwa d and deepe in o he isual, and in o ou sel es. A ame can help
ocus he challenge o i sel . A ame can be a window, and i a ame is a window, i
can be an open window allowing i s sound ack and he soundscape o he in e io and
ex e io o me ge and expand. This is wha cinema can do wi h he ela ionship o he
sc een and sound, ou pe cei ing bodies wi h hei biological and cul u al in luences,
and he push and pull be ween hem.
35
Salomé Voegelin desc ibes how “sound na a es, ou lines and ills, bu is
always epheme al and doub ul. Be ween my hea d and he sonic objec phenomenon
I will ne e know i s u h bu can only in en i , p oducing a knowing o me. This
knowing is he expe ience o sound as empo al ela ionship.” (Voegelin, 2010, p. 5)
She poin s ou ha his is no a ela ionship be ween one hing and ano he , e.g., he
dualism o he sounding objec and he lis ene , bu “ he hing is sound i sel ”. (2010,
p. 5) Sound is a ela ionship be ween. Like cinema is a ela ionship be ween wha he
ilmmake s c ea e and he audience, cinema is ha be ween. The ilm sound na a ing,
ou lining, and illing.
I.2 Me hodologies: lis ening o he pas
à
a c i ical au ali y
35
!These! hough s!led! o! he!Sonic-Field-se ies!launch,!Sound acks- o -S ange-Days,!du ing! he!
2020! Co id-19! pandemic’s! i s ! mon hs.! This! will! be! w i en! abou ! mo e! in! de ail! u he ! on.!
h ps://sonic ield.o g/2020/05/call- o -wo ks-sonic-social-dis ance-and-sound acks- o -
s ange-days/!!
35
Accessing an Au ali y: Wha can gi ing oice o his o y and he i age ell
us abou he pas in he p esen , and wha could ha mean o ou u u e? This
esea ch is in pa an in es iga ion in o an in e disciplina y use o e ms and
me hodologies om isual s udies, owa ds an applica ion in sound s udies, in a
simila me hod ha pe cep ion s udies ook when con e ing ligh s udies o sound.
This is o say, ha his p ojec will wo k o highligh he in e disciplina y ela ionship
be ween he wo, a he han a supe imposi ion o one a ea o e ano he . The
c osso e s, and e en a eas whe e isuali y is no so commensu able o au ali y, s ill
e eal aluable in o ma ion and applica ion owa ds he cu en ly qui e changeable
bo de s o c i ical sound s udies. I ha e ound he wo k o Ma i a S u ken and
Nicholas Mi zoe on isual cul u e pa icula ly applicable owa ds a s udy o au al
cul u e. Visual Cul u e came oge he in he 1990’s o, “in es iga e he con e gence
o ques ions o ep esen a ion.”
36
Visual Cul u e me hodologies a e al eady being
applied owa ds conside ing he ep esen a ion o images in ou isual a chi es, his
p ojec calls o he same o be applied o ou au al a chi es.
I e isi ed John Be ge ’s Ways o Seeing (asking mysel why he e was no
equi alen Ways o Hea ing) and ound mysel ques ioning aspec s o his emphasis
on seeing, pa icula ly his belie ha seeing es ablishes ou place in he su ounding
wo ld. (Toop, p. XI)
The limi ed (bu g owing) li e a u e I ha e ound exis ing on au al cul u e
has ela ionships o sound e hnog aphies and an h opologies, wi h a endency o be
qui e ecen , and mos , such as Bull and Back’s The Audi o y Cul u al Reade , (2003)
and Smi h’s Hea ing His o y, A Reade , (2004) a e a emp ing o add ess a wo ld ha
gi es p e e ence o he conside a ion o isual o e au al. Many o hese heo ies and
me hods display a need o mo e senso y conside a ion in cul u al esea ch in gene al,
and his p ojec will make a clea ela ionship be ween he applica ion in he
a o emen ioned ields, wi h he a s and a is ic s udies, as well as ecology.
I came o he e m “au ali y” w i ing wi h esea che and a is Jenni e
Heuson on he subjec o he possible adap a ion o e ms and me hods used in isual
36
!Mi zoe !s a es!in! he!Sound,!Vision,!Ac ion!Colloquium!a !McGill!Uni e si y!2014!o ganized!by!
himsel ,! sound! s udies! schola ! Jona han! S e ne,! and! Tama ! Tambeck.! Re ie ed! June! 5,! 2016:!
www.sound isionac ion.cc!!
36
s udies owa ds a sonic equi alen .
37
Sound his o ian Vei E lmann de ines au ali y as
he in e p e a ion o he cul u e and biological, and also s a es ha au ali y is s ill a
ma e o , “pe cussing, discussing, pe cussing.” (E lmann, 2010, p. 342) Like a
diagnosis, knowledge comes h ough examina ion and o en expe imen a ion. Cul u al
and biological in luences and in o ma ion will play an impo an ole when u he on
we ela e au ali y o he ela ionships o lis ening bodies wi hin a soundscape,
explo ing his wi h he Acous ic Niche Hypo hesis and In o ma ion Bea ing Elemen s.
“Au ali y” is de ined as he quali y, condi ion, o deg ee o being au al, o he ea o
sense o hea ing. “Au al” e e s o he ea , o hea ing, an ac ha is o en passi e.
“O al” o he mou h, o speaking, an ac ha is always ac i e.
38
Lis ening is an ac i e
au al ac , and an ac i i y inc easingly less p ac iced. We a e becoming un- uned o he
bomba dmen o in o ma ion o ou su oundings, o he in o ma ion h ough ou
de ices. We a e inc easingly passi e in how his in o ma ion en e s us; as hea ing is
an embodied ac , we embody wha e e his in o ma ion may be. My hesis add esses
how sound a and design, wi h a ocus on lis ening, can c ea e coun e -au ali ies o
passi e hea ing. A coun e -au ali y is bo owing he e m coun e isuali y om
Nicolas Mi zoe , who de ines i as a way o no jus doing (in his case looking, in his
case lis ening) di e en ly, bu an a emp o econ igu e, disman le, up u e, how we
ha e been doing (looking, lis ening) i . (Mi zoe , 2011, p. 24) Sound en e s us
“pu e”, we pe cei e all sound in ou equency ange, he e is no ea lid
39
o close
sound ou . Lis ening equi es a choice o concen a e, and ac i a ion in pa s o ou
b ain ha o en o e lap he a eas we use when speaking. We lis en, we p ocess, we
can conside , we can exp ess ou conside a ion and exp ession o wha we lis en o,
and wha we lis en o ; can ans e in o ma ion and c ea e new in o ma ion wi hin he
ela ionship o ou “audience”. This can happen in many o ms, ha e a use h ough
many applica ions, and be e ec i e in many a eas.
37
!I! would! like! o! u he ! no e! ha ! wi hin! an! ea ly! in es iga ion,! I! ead! he! wo k! o ! Jenni e !
Heuson,! who!had! ecen ly! conduc ed! qui e! ex ensi ely! esea ch!in o! he! ques ion! o !an! Au al!
Cul u e,!au al!poli ics,!and! he!use!o ! he! e m!au ali y,!disco e ing!he ! esea ch!has!mo ed!my!
wo k! o wa d!conside ably.!!
38
!Radboud!Uni e si y!Nijmegen.!2010,!Augus !16.!"Speaking!and!lis ening!sha e!la ge!pa !o !
b ain!in as uc u e."!ScienceDaily.!Re ie ed!Sep embe !29,!2016:!!
www.sciencedaily.com/ eleases/2011/08/110816084007.h m!!
39
!While! he! e m!“ea lid”!is!o en!associa ed!wi h!R.!Mu ay!Scha e ,!as!used!in!The-Tuning-o - he-
Wo ld!(1977)! o!desc ibe! he!physical!inabili y! o!close!ou !sound! om!a!hea ing!body,! he! e m!
has!been!a ound!since! he!mid!16 h!cen u y.!Re ie ed!Decembe !8,!2019:!
h ps://www.lexico.com/de ini ion/ea lid!!
37
Au ali y is no jus abou sounds, bu abou how hea ing and lis ening and e en
imagining sounds wo ks o gene a e emo ions and a ec as well as c ea ing
a mosphe es ha a e bo h li ed in and ali e. (Heuson, 2015b, p. 30)
In The Visual Cul u e Reade , Mi zoe desc ibes Visual Cul u e as
“c i iquing he li es, powe s, desi es, and needs o images”. (Mi zoe , 1998, p. 3) We
can eplace “images” wi h “sounds” as a me hod owa ds a c i ical au ali y. He
desc ibes isuali y as a echnique o colonial and impe ial p ac ice whe e “powe
isualizes His o y o i sel ”, (Mi zoe , p 3) claiming au ho i y o p oduce consen .
Au ali y examples o his can be ound in music, a chi es, adio, ele ision, cinema,
news, and as Heuson w i es, museums–all o ms o sound design in ou cul u al
ins i u ions.
I can also be ound in na u e, o a he wha we conside Na u e. The sounds
o indus y we e aes he icized, ma ke ed as a posi i e sign o p og ess and Wes e n
de elopmen . Tha same noisy p og ession and pollu ion ha has led o ou cu en
Clima e C isis was also he noise ha se ou o conque and ame Na u e and
indigenous people, ende ing silence and oicelessness in he ace o such olume.
Mi zoe w i es in he sec ion “An h opocene (An)Aes he ics,” in “Visualizing he
An h opocene,” (2014) on how he human conques o Na u e aes he icized ou
landscapes (and soundscapes) pollu ion ( hink o he sound and smoke o ac o ies
po ayed as symbols o p og ession), leading o a loss o pe cep ion (aes hesis, hose
ac o ies become usual and un ema kable in ou landscapes), becoming wha he calls
anaes he ics, o be expec ed and ole a ed. (p. 220)
In he essay, “The Righ o Look,” (2011) Mi zoe places lis ening as a base
o ac ion, as a way o be p esen . This is expanded upon by D . Isabel Fe ei a Gould,
in he chap e , “Acous ic Remains: Lis ening o Colonialism and Decolonialism in
Isabela Figuei edo’s Li e W i ing”, (Gould, 2018; 2020) when she w i es o au al
ememb ance, and uses he legal e m, ea wi ness, when “lis ening connec s he sel
o o he s and unc ions as a way o esis ing om wi hin”. (Gould, 2018;2020, p. 1) In
he a chi es o Figuei edo’s w i ing, Gould inds “ea -wi nessing and au al
ememb ance a e in ima ely connec ed o he poli ics o sel - ep esen a ion in he
ex ” and can only be econs uc ed as echoes o he pas h ough he w i e ’s
au obiog aphical oice in he p esen . (Gould, 2018; 2020, p. 4) Voegelin poin s ou

38
ha while he desi e o see a whole, leading us o maps and bo de s, and aces and
ce ain ies, is wha is behind Visuali y, wi h he ou come o a sense o objec i i y,
audi o y engagemen “when i is no in he se ice o simply u nishing he p agma ic
isual objec , pu sues a di e en engagemen . Le in he da k, I need o explo e wha
I hea . Lis ening disco e s and gene a es he hea d.” (Voegelin, 2010, p. 4)
R. Mu ay Scha e , ounde o he Wo ld Soundscape P ojec , and au ho o
The Soundscape: Ou Sonic En i onmen and he Tuning o he Wo ld, (1977) begins
a ounda ional beginning wi h his wo k owa ds a coun e -au ali y, bu i is
p oblema ic in i s own p i ilege and sepa a ion. E en he chap e s in Pa One
sepa a e “The Na u al Soundscape” (p. 15) om “The Ru al Soundscape”, (p. 43) o
“F om Town o Ci y”. (p. 53) He di ides ou soundscapes in o a dualis ic lo- i o hi- i
ca ego y, he hi- i soundscape allowing o mo e disc e e sounds o be hea d, allowing
o mo e di e si y. This is indeed o en he sign o a heal hy and unc ioning
en i onmen , and humans as well as o he being will ge s essed in wha he calls a lo-
i soundscape– he s ess o p ocessing so much acous ic in o ma ion, i you a en’
used o i .
He w i es he lo- i soundscape was in oduced by he Indus ial Re olu ion,
and hen ex ended by he Elec ic Re olu ion. (Scha e , 1977, p. 71) He e e s o i as
Sound Impe ialism. “Wes e n Man lea es his calling ca d all o e he wo ld (…) local
cul u e is pul e ized in o he backg ound.” (Scha e , 1977, p. 77) Leading up o
Scha e and Acous ic Ecology’s c i icisms o u ban noise as pu ely nega i e, in need
o e adica ion. This doesn’ allow oom o a c i ical coun e -au ali y ha akes in o
ull accoun he many people ha o many easons ha e o o choose o (o o en a
complex mix o bo h) li e in noisy soundscapes like ci ies. To p ope ly add ess he
issue o noise and i s a ec s in hese places, we need o add ess hei his o y, hei
ela ionship wi h hei his o y, and he ela ionships o i s inhabi an s wi h he
soundscape and wha hey may o may no call noise–we need o conside complex
and complica ed objec i e and subjec i e au ali ies.
I.2.a.
à
composing he pas
à
a c i ical sound design, a c i ical ea
The app oach his hesis akes is an app oach Voegelin desc ibes,
challenging simul aneously he ideas o objec i i y and subjec i i y (as she s a es a
39
good philosophy o sound a will do), wi h he collec i e, ela ions, meaning, and
sense-making. “The unde s anding gained is a knowing o he momen as a senso y
e en ha in ol es he lis ene and he sound in a ecip ocal in en i e p oduc ion”.
(Voegelin, 2010, p. 5-6) A sonic sensibili y, o Voegelin and his p ojec , is a
me hod owa ds making hinkable he complexi y and connec ion o ime and space,
wi h c i ical e alua ion and engagemen . (Voegelin, p. XVI)
To ask again, i sensing is o an essence o an embodied expe ience, how can
we c ea e a sensual pas in he p esen , and wha do we conside wi hin ha ac ? A
conside a ion o sense is key o he wo k o Heuson. In he essay, On Hea ing
Toge he C i ically: Making Au al Poli ics Sensible Th ough A and E hnog aphy,
(2015a) Heuson w i es abou a “poli ics o sensing h ough he p oduc ions o
au ali y”. Th ough six summe s o ieldwo k and p ac ice-based esea ch and a , she
explo ed ou is enues u ilizing his o y, he i age, and my h in he Black Hills o
Sou h Dako a, and aced how au al expe iences a e used o “sell Ame ican he i age”
in p esen ing a cons uc ed pas . (Heuson, 2015a, pp. 74-75) Au al modes o
p oduc ion a e sub le, ye powe ul, and so an excellen means o managing
expe iences o he pas . (2015a, p. 73) Au ali y conside s ha embodimen o he pas
in he p esen ; conside s he expe ience a sensual one, and he e o e a pe sonal one,
and s ill ye a passi e one i me ely hea d and no lis ened o. She calls o a
esponsibili y in his, an acknowledgemen o he powe o choice in gi ing oice o
he pas , a he i age o a sound. Wha is he a is ’s ole in he a chi e and wi h
sounding he pas , and how can ha s eng hen a c i ical p ac ice? How can
hese ques ions lead o a c i ical au ali y, and a c i ical sound design?
As i now wo n ou , he cen u y o cinema, ele ision, pho og aphy and audio
eco ds elinquishes con ol o less angible sensa ions o a new ime. Bu his
sudden g ow h sugges s ha he phenomenon o sound in i sel , dis inc om music
and speech, has been neglec ed in he pas (…) sound — and by sound I mean he
en i e con inuum o he audible and inaudible spec um, including silence, noise,
quie , implici and imagined sound — can be iden i ied as a sub- ex , a hidden i
unce ain his o y wi hin o he wise silen media. (Toop, 2010, p. XIII)
40
“Dis inc om music and speech,” a icula es an impo an cla i ica ion o
his esea ch, in conside a ion o bo h soundscape as well as sound design. In
compa ison o oice s udies and musicology, and hei ela ed ields, he e has been a
d ough in sound s udies dealing wi h he o he elemen s o ou sonic en i onmen s.
Simila ly, wi hin he ela i ely small amoun o ex I’ e ound de o ed o cinema ic
sound design, o en he e is p ecedence owa ds oice-o e and musical elemen s in
he sound ack. Bu jus as isual s udies can allow an adap a ion o wo k unde i s
umb ella owa ds a c i ical au ali y he e, so hen can some esea ch in oice s udies
and musicology. The in e na ional symposium Musique e écologies du son: P oje s
héo iques e p a iques pou une écou e du monde/Music and ecologies o sound:
Theo e ical and p ac ical p ojec s o a lis ening o he wo ld, was held a Uni e si é
Pa is 8, in 2013. I was o una e o a end and p esen a pape he e, he i s
p esen a ion o he ea lies o m o his hesis. This in e na ional symposium was o
g ea signi icance o many a eas in sound s udies and in he ollowing h ee yea s ou
olumes o p oceedings ha e been published wi h essays om op hinke s in he
ields, (Solomos e al, 2016) he las and la es wi h which I w o e a e iew o o he
annual scien i ic publica ion Soundscape: The Jou nal o Acous ic Ecology,
40
an
in eg al sou ce om The Wo ld Fo um o Acous ic Ecology,
41
and he jou nal ha
i s published my ea lies wo k on his esea ch as well.
In e connec i i y and an u ge agains dualism a e a con inual heme
h oughou he p oceedings and is an impo an con empo a y pe spec i e in
conside a ion o ecology. F om hough on na u e and cul u e, o u ban and u al, o
music and noise; wha is desi able and undesi able in and om sound, wha is
indi idual and wha is social in ou ela ionship o sound, conse a ion and
p ese a ion, phonog aphy and phenomenology, landscape and soundscape and he
human and non-human wi hin hem. The ension be ween hese and ela ed
ca ego ies-and wha can be ound and discussed be ween hem, o wha can be ound
and discussed i we do away wi h hem, o wha can be ound and discussed i we
40
!Colbe ,!Maile.!2017.!“Musique!e !écologies!du!son!P oposi ions! héo iques!pou !une!écou e!du!
monde!/!Music!and!ecologies!o !sound!Theo e ical!P ojec s! o !a!Lis ening!
o ! he!Wo ld,!Re iewed!by!Maile!Colbe ”.!Soundscape:-The-Jou nal- o -Acous ic-Ecology,-Volume-
16:-Sounds-Eme gen :-Di e se-Ecologies-Pa -II.-p.!35:!
h ps://www.w ae.ne /uploads/5/9/8/4/59849633/soundscape_ ol16.pd !!
41
!The! Wo ld! Fo um! o ! Acous ic! Ecology! was! ounded! in! 1993! as! a! mul idisciplina y!
in e na ional! associa ion! s udying! he! social,! aes he ic,! cul u al,! and! ecological! aspec s! o ! he!
wo ld’s!soundscapes:!h p://w ae.ne /!!
41
in e connec hem- o ges owa ds heo ies and me hodologies on sound-music
ecologies and ecophilosophy.
42
As esea che Ljubica Ilic w i es in he publica ion, in
he essay “Be ween Re ea and Re u n: Re hinking he Sonic Pas o al”: “We a e,
globally, aced wi h he ac ha he en i onmen is one whole (…) The symbolic
mesh ha we li e in, in e wined in all possible manne s, equi es mo e sub le
choices, e en when sound is in ques ion.” (Ilic, 2016, p. 256)
The en i onmen conside ed as a whole, o a complex and in e connec ed
hizome. “E e y sound is e idence o a pa icula , ea hly i ali y, and he p o enance
and impac o hese i ali ies is o cou se he business o sound ecology,” (Nelson,
2016, p. 209) eads a key s a emen om he ex “Bu Does he Wo ld Lis en? Some
Though s on Rhy hmic Bonding Be ween Humans and he Sounding Wo ld”, om
au ho Pe e Nelson. The essays in he book conside in a ious ways, om a ious
angles, he embodied in o ma ion gained om he sound o place connec ing he
lis ene o hei su oundings, such as he ex om Makis Solomos and F édé ick
Duhau pas ha conside s sound and music’s abili y o allow us he expe ience o
place, and his abili y allowing he “capaci y o c ea e links, connec ions, and bonds,”
aking as example he wo ks and w i ing o Hildega d Wes e kamp. (2016, p. 75)
Jo dan Lacey calls o an ecophilosophy owa ds sound s udies, encou aging us o
conside he impac o a soundscape wi h imagina ion o p o ide a “sense o he
subjec i e in he na u al, which in e ela es wi h he men al space o he lis ene ”.
(Lacey, 2016, p. 149) As Gua a i s a es, ecosophy is conce ned wi h he whole o
subjec i i y. (2008, p. 2)
Soundscape ecology ocuses on he ela ionship be ween li ing beings and
hei en i onmen h ough sound, and so his ela ionship is o cou se inclusi e o
music and sonic designs and in e connec ed wi h eally any sonic s udies one migh
conside . F ans Mossbe g, poin s ou in he sec ion “F agmen a ion o he Field” in
his wonde ully comp ehensi e, “Soundscape, Noise, and Music in In e disciplina y.
Resea ch and Design”: “The complexi y o exposu e o sound in oday’s li e and
u ban en i onmen calls o in e disciplina y app oaches ha encompass echnical,
42
!Gua a i,!F.!1989.-T ois-ecologies.!Pa is:!Edi ions!Galilée.!Gua a i!de ines!ecophilosophy!(also!
e e ed! o!as!ecosophy)!as!a!philosophy! owa ds!an!ecological!ha mony,!highligh ing!a!need! o !
discou se! o! be! embedded! in! an! unde s anding! o ! he! in e connec edness! o ! social! and!
en i onmen al.!
!
48
< Figu e 3 >
Jenni e Heuson, when w i ing abou he silence o he ep esen a ions o
indigenous people in he Ame ican Sou hwes museums, calls o a mo e a is ic
app oach o e hnog aphy, a guing o an h opologis s o g apple wi h he senso ial
ep esen a ions and poli ics o hei p ac ices. She asks hem o ask hemsel es in hei
p ac ice “how o make he pas sensible o he p esen ”. (Heuson, 2015a, p. 73) How
can we sha e sense ac oss imes, places, and peoples, owa ds a sha ed unde s anding.
“Sound in i s a ied o ms wo ks o o ge common sen imen s.” (Heuson, 2015a, p.
76) The powe o au ali y is i s desc ip ion o he p ocess o media ing and making
sound, silence, noise, and linking his o emo ional a ec . (Heuson, 2015a, p. 77)
He ini ial app oach conside ed sound as some hing ha could be quan i ied
and con ained, hen documen ed and o e ed as e idence. I can ela e o his
assump ion, ha ing app oached my wo k in a simila way, ini ially ying o app oach
as “science”, a he han “a ”. In wo king wi h me hods om soundscape s udies and
sound e hnog aphies, i was inadequa e. When Heuson also app oached ou ism as
pos -colonial, and app oach ha has been impo an in con empo a y assessmen o
ep esen a ions and na a i es o he pas in a chi es, his helped o o m c i ical au al
cul u e assessmen s. The ou ism indus y ( e)p oduced “s a k con as s be ween he
na u al and cul u al wo ld, and be ween Na i e and non-Na i e peoples”. (Heuson,
2015b, p. 93) She conside s hese p oduc ions in he i age and ou ism enues o ms o
“ on ie au ali y”, and wha is called o is a coun e -au ali y o hem. (2015b, p. 31)
The Wayback Sound Machine as well needed o go beyond soundscape
s udies and sound e hnog aphies, hough each o hose ields is impo an o his
in e disciplina y wo k. I needed as a hesis o highligh and discuss w i ing and
wo ks ha explo ed hese disciplines’ o e laps wi h sound a and design, and as a
concep ual ool in a p ac ice, explo e and s udy hose same o e laps, and how sound
in a wo k allows complex in o ma ion o be sensible. A s udies allows o he
complica ion and complexi y o be an impo an pa o knowledge. And he base o
all o his, is lis ening.
I. 4. Soundscape
à
lis ening

49
…hea ing has e ol ed as ou ala m sys em — i ope a es ou o line o sigh and
wo ks e en while you a e asleep. And because he e is no place in he uni e se ha
is o ally silen , you audi o y sys em has e ol ed a complex and au oma ic “ olume
con ol,” ine- uned by de elopmen and expe ience, o keep mos sounds o you
cogni i e ada unless hey migh be o use as a signal ha some hing dange ous o
wonde ul is somewhe e wi hin he kilome e o so ha you ea s can de ec . This is
whe e a en ion kicks in.
51
(Ho owi z,!2012,!pa a.!5)
The e was a poin o ime in he wild, as he wild was becoming less wild,
when lis ening became no as much an ac owa ds su i al and began o lean owa ds
he aes he ic and ec ea ional…o ( e)c ea ional. “Re”, ha imely p e ix conno ing
mo emen h ough ime–again, back, epea . Much o his ( e)sea ch is abou
( e)p esen a ion: a dis up ion o a his o y, a ansposi ion, a compelling he e ogeneous
meshing o con ex s– eco dings and a –p ese a ion, p esen a ion, and pe cep ion.
An impo an ( e)occu ing poin will ( e)pea h oughou his hesis…when we lis en
o eco ded sound, a wha poin , o poin s a e we sonically pe cei ing? Also,
impo an will be o conside : why is ha impo an ?
I.4.a. Lis ening and Deep Lis ening: A phenomenology o lis ening: o ime,
space, and place
Walk so silen ly ha he bo oms o you ee become ea s. (Oli e os, 1974)
I eel i is impo an o add ess he expe ience o lis ening as also sepa a e
om sound pe cep ion. Lis ening is de eloped, and so also adds a laye o complexi y
and subjec i i y o sound pe cep ion. Fo example, when we pe cei e a eco ded
sound, we may ha e a lea ned ea owa ds placing he sound o he eco ding ma e ial
in o he pas . Lis ening skills a e con ex ually a iable. This is again why s udies o
sound e hnog aphies can be impo an o conside .
51
!Se h!S.!Ho owi z!was!an! audi o y! neu oscien is ! a !B own! Uni e si y!and! he!au ho !o ! The-
Uni e sal-Sense:-How-Hea ing-Shapes- he-Mind.!2012.!London:!Bloomsbu y.!This!quo e!is! om!his!
a icle:! “The! Science! and! A ! o ! Lis ening.”! The- New- Yo k- Times.! Re ie ed! Augus ! 7,! 2015:!
h p://www.ny imes.com/2012/11/11/opinion/sunday/why-lis ening-is-so-much-mo e- han-
hea ing.h ml!!
50
In he sec ion i led, “How Pan ag uel, being a sea, hea d a ious un ozen
wo ds,” om The Fou h Book o Pan ag uel (1552) o F ançois Rabelais’ Ga gan ua
and Pan ag uel, (1530-1564), he gian , Pan ag uel, and his c ew a e on a sea oyage.
Pan ag uel s ops hei alking and asks hem o lis en, hinking he is hea ing “some
people alking in he ai ”. They s op and, “…wi h ull ea s sucked in he ai as some
o you suck oys e s, o ind i we could hea some sound sca e ed h ough he sky”.
(Rabelais, 1552, p. 1704) They we e igh ened, as hey could hea bu no see, oices
o men, women, child en, ho ses, and weapons. His c ew becomes e i ied, ea ing
hey a e unde siege and ou numbe ed. Pan ag uel begs calm and o see whom hey
a e i s , saying,
I ha e ead ha a philosophe named Pe on was o opinion ha he e we e se e al
wo lds ha ouched each o he in an equila e al iangle; in whose cen e, he said, was
he dwelling o u h; and ha he wo ds, ideas, copies, and images o all hings pas
and o come esided he e; ound which was he age; and ha wi h success o ime
pa o hem used o all on mankind like heums and mildews. (…) A is o le a i ms
Home 's wo ds o be lying, mo ing, and consequen ly anima ed. Besides,
An iphanes said ha Pla o's philosophy was like wo ds which, being spoken in some
coun y du ing a ha d win e , a e immedia ely congealed, ozen up, and no hea d;
o wha Pla o augh young lads could ha dly be unde s ood by hem when hey we e
g own old. Now, con inued he, we should philosophize and sea ch whe he his be
no he place whe e hose wo ds a e hawed. (Rabelais, 1552, chap. LV, p. 1707)
The skippe ale s hem ha hey a e on he F ozen Sea, on which was a g and
ba le had happened du ing he win e . Now wi h he Sp ing’s haw, he ozen sounds
“mel and a e hea d”. (1552, chap LVI, p. 1710) Wi h his in mind, hey look a ound
o some no ye hawed, in o de o see he sounds. They ind some on deck,
desc ibed as like, “… ough suga -plums, o many colou s”, (p. 1710) and desc ibes
he di e en colo s and hei ela ion o he emo ion behind he wo ds–some me y
and “gules”, some ai and “o ”. They picked up he sounds and wa med hem in hei
hands, a which poin hey we e able o hea hem once hey mel ed. “…he h ew
h ee o ou hand uls o hem on he deck; among which I pe cei ed some e y sha p
wo ds, and some bloody wo ds, which he pilo said used some imes o go back and
51
ecoil o he place whence hey came, bu i was wi h a sli weasand. We also saw
some e ible wo ds, and some o he s no e y pleasan o he eye.” (Rabelais, 1552,
p. 1711) The wo ds begin o mel in la ge numbe s, and a phonic e-enac men o he
ba le is desc ibed. The eco de w i es he would ha e liked o keep some, pe se e ed
in oil, bu Pan ag uel ells him i ’s w ong o “hoa d up wha we a e ne e like o wan
o ha e always a hand.” (Rabelais, 1552, p. 1712)
Is his an ea ly accoun o he desi e o p ese e sound? O o eeze ime? A e
he wo ela ed? As Michel Chion poin s ou on his passage, his could be he desi e
o p ese e, bu ha p ese a ion is delaying he ime i s hea d, he e is no abili y o
epea he ozen sounds. (Chion, 2016, pp. 21-30) We pe cei e he p ope y o ime
in sound a e i has been lis ened o, so he ac o p ese ing a sound is in ha manne
p ese ing i s ime, whe he epea able o no . And while we lis en, we pe cei e
sound’s o he p ope ies–such as imb e–a he same ime as… ime! The ime we
lis en o is always in he pas , and he expe ience is always in he p esen ,
simul aneously. Reco ded and p ese ed sound ex ends and highligh s his
phenomenon. Pe haps he Rabelais s o y isn’ so much abou eco ding, bu abou
lis ening o sounds om he pas . P ese a ion à p esen a ion à pe cep ion.
Wha comes oge he h ough sound is eme gen and passing ime — a sense o
du a ion, he ield o memo y, a ullness o space ha lies beyond ouch and ou o
sigh , hidden om ision. Sound mus be us ed, canno be us ed, so has powe .
(Toop, 2010, p. XV)
My i s w i ing on he concep o sound/sounding ime led o he a icle
“Wayback Sound Machine, Sound Th ough ime, Space, and Place”, published in he
Wo ld Fo um o Acous ic Ecology’s Soundscape, he Jou nal o Acous ic Ecology in
2014. The a icle was a beginning, bu also a wande ing om my backg ound in he
a wo ld, as I ocused mo e a he ime on acous ic ecology and soundscape ecology
esea che s. These ields did, howe e , de elop wi h a ela ionship o a and music,
and hese pa allel pa hs ha e conjoined in his p ojec . One o Scha e ’s eam
membe s in de eloping he acous ic ecology ield, Ba y T uax, ocused his wo k
h ough he e m soundscape ecology, s udying he e ec s o he sonic en i onmen
on all o ganisms sha ing i . T uax is also an elec oacous ic music compose , as is
ano he well-known membe o his pionee ing g oup, Hildega d Wes e kamp, whose
52
phonog aphic eco dings and sound wo k has also been used no ably in cinema ic
sound design. Gi en an oppo uni y o in e iew Wes e kamp, a e asking he o
explain wha she c ea ed, I ollowed up wi h he open ques ion, “Wha can ha say?”
He esponse was…
E e y hing I do seems o be ocused on unde s anding he wo ld h ough he ac o
lis ening and on he desi e o sha e his unde s anding wi h as many people as
possible. I belie e ha e e y sense pe cep ion gi es us aluable and impo an
connec edness o and in o ma ion abou he wo ld in which we li e. Ou hea ing
sense has been unde u ilized (ce ainly in my li e ime, in ou socie ies, nowadays)
and a e-balancing o ou senses may mean a e-balancing o how we app oach li e,
en i onmen , cul u e, poli ics and ideas. Expe ience in lis ening and composing has
shown me e e new, changing and deepening app oaches o space and ime.
52
An h opologis S e e Feld was inspi ed by he heo ies and me hodologies o
Scha e o apply owa ds an an h opology o sound, ocusing on he idea ha he
c ea i e in e p e a ion and p esen a ion o sonic ieldwo k is an impo an pa h o bo h
in ellec ual explo a ion, as well as a public engagemen . In Da id No ak and Ma
Sakakeeny’s in aluable book keywo ds in sound, (2015) Feld de ined he e m
“acous emology”, conjoining “acous ic” and “epis emology” o desc ibe sound as a
way o knowing and being in he wo ld. (2015, p. 12) His wo k calls o a sensuous
ela ionship and in es iga ion wi h place, a call in eg al o he esea ch wi hin his
p ojec , and one sha ed wi h o he esea che s ha c oss an h opology wi h a and
philosophy, such as Da id Ab am and his book The Spell o he Sensuous: Pe cep ion
and Language in a Mo e- han-human Wo ld, (1997) whe e in pa he conside s ou
ela ionship wi h he soundscape as a communica i e expe ience ha led o language–
an in es iga i e h ead also esea ched by soundscape ecologis , musician, and au ho
D . Be nie K ause in he de elopmen o his Acous ic Niche Hypo hesis, which I will
explain u he in he nex sec ion.
52
!Colbe ,!M.!2011.!In e iew!wi h!Hildega d!Wes e kamp!in,!“Wi hin!a!G ain!o !Sand:!Ou !Sonic!
En i onmen ! and! Some! o ! I s! Shape s”! in! Sounding-Ou :- he- Sound- S udies- Jou nal.! NY:! SUNY!
Bingham on!
53
Whe e he esea ch and bibliog aphy ound ini ial gaps in he h ead be ween
soundscape and sound design, he ela ionship o sound design wi h a ec heo y has
been undamen al. O he li e a u e suppo ing and expanding ha b idge in
phenomenology and sound is he iconic wo k o Don Ihde on phenomenology o
lis ening, (2007, p. 147) as well as Jean Luc Nancy, who speak o he ela ionship o
sound wi h beings–by i s physics, na u e and o he cha ac e is ic–as a ouch–mo e
han a simple ib a ion, bu a communica ion. He desc ibes how we s e ch and s ain
o hea , he ac o lis ening expanding in a bodily way, while he body s ays, s aining
o b ing sound inwa ds. (Nancy, 2007, p. 5) Timb e, he pe cei ed one and ex u e o
he sound whe e in o ma ion bea ing elemen s eside in o e ones, equency
en elopes, and empo al cha ac e is ics, con eying in o ma ion and a ec o he
sounding objec o body. “Resonance is a once lis ening o imb e and he imb e o
lis ening.” (p. 40) An “echo o he subjec .” (p. 39) The lis ene , “… esounds,
esponding o a momen um, a summons, a con oca ion o sense.” (p. 30) Lis ening is
undamen ally embodying an ac ha connec s h ough esonance he ex e nal
soundscape, be i a dawn cho us o song o sound ack, and ou bodies. (And isani &
D oume a, 2016).
I.4.b. The Biophony and IBEs
The e is a cons an challenge wi hin he wo ld, a challenge o being hea d. I
is abou su i al and communica ion, a ac ion and dis ac ion. The Biophony
desc ibes he acous ic bandwid h pa i ioning p ocess ha ocalizing animals
collec i ely c ea e in s ill-wild biomes, by which non-human o ganisms adjus hei
ocaliza ions by equency and ime-shi ing o compensa e o occupied ocal
e i o y.
53
(K ause, 2012, pp. 68-69) Thus each species e ol es o es ablish and
main ain i s own acous ic bandwid h so ha i s oice is no masked. In The G ea
Animal O ches a, (2012) K ause goes u he in o how lis ening o he biophony, and
sounding in he biophony, could be he basis o human’s sense o composi ion,
lis ening o he biome, lis ening o hese soundscapes. (2012, pp. 104-105, pp. 212-
124)
53
!Biome!is!de ined!by!Me iam-Webs e !as!a!majo !ecological!communi y! ype!(such!as! opical!
ain! o es ,!g assland,!o !dese ),!a!communi y!o !dis inc i e!plan s!and!animals!li ing! oge he !in!
a!pa icula !clima e!and!physical!en i onmen .!

54
Biologically impo an sounds can be desc ibed as holding in o ma ion-
bea ing elemen s (IBE) wi hin hem, as s udied by neu al esea che Nobuo Suga,
who wo ked speci ically wi h ba s and how hey lis en–and how hey a e lis ened o–
wi hin a sha ed soundscape. (Suga, 1992) Pe haps I ake libe ies wi h such a use ul
e m by applying i o he Humani ies, bu i could be heo ized ha esponses o
complex sounds and soundscapes, and so as well cinema ic sound design, could be
explained in pa based on hese IBEs. Remembe ing O’Callaghan; an “awa eness o
en i onmen al hings and happenings hanks o audi ion is epis emically media ed by
awa eness as o sounds and audi o y objec s bu does no i sel cons i u e audi o y
pe cep ual awa eness as o hose hings and happenings.” (O'Callaghan, 2011a, p.
378) Mos IBEs a e gene ic acous ic pa e ns and sound elemen s, (Suga, 1992)
decep i ely simple, and o en e en sha ed ac oss species, o example signaling
dange , o communica ing wi h one’s dog, and o he acous ic biosemio ic sound
happenings. This esea ch will u he conside how he a ec o lis ening, and IBEs
in wha we a e lis ening o, is used owa ds a designed expe ience; and he
ela ionship be ween ha design and ou soundscapes, and his u he in o
conside a ion o ime and place.
The conside a ion o IBEs allows a me eological iew o sound pe cep ion,
ela ing and pe cei ing he pa s o he whole hey c ea e, which b ings us back o
heo ies om O’Callaghan, who again asks o he conside a ion o a sound o be an
e en , and ha ela ionship be ween sou ce and sound as one pa o a whole. Pa s
owa ds wholes a e impo an o ime-based media, and he pe cep ual illusion ha
ills in and allows he whole: sc eens, ames, ields, pulses, and ib a ions. Pa s a e
impo an o a ulle pe cep ion o he wo ld, c ea ing a sound ack o an e en ; wo en
wi h he isual p o ile o he same e en –i is one e en we a e sensing. Ra he han
cause and e ec , he ela ionship o pa o whole may allow us o sense he whole.
(Be múdez, 2000, p. 10) And his whole includes ime.
I.4.c. In oduc ion Conclusion, he pa h
Wha can we ga he om sounding he pas , and wi hin ha , wha is he
ela ionship be ween soundscape and sound design? I he s udy o acous ics is
abou sound in ela ion o space, and he s udy o sound e hnog aphies and ecologies
55
is in ela ion o place, and he s udy o sound in a ec and phenomenology adds ime,
a soundscape ecophilosophy in ela ion o sound design can in e connec he whole.
To conside sound and audi ion, we a e also conside ing ime. This is whe e
conside ing philosophical heo ies o sound pe cep ion is use ul, hough limi ed in
ha mos we e li ed om heo ies o isual pe cep ion. In gene al, mo e
con empo a y heo ies ha acknowledge and conside senso y pe cep ion as a sys em
in which ou senses a en’ so compa men alized, bu mo e like a ne o ne wo k, o
ma ix, o sensing and p ocessing, a e mo e use ul owa ds accep ing he complexi y
o he hesis ques ions. Bu a his o y o exis ing heo ies was gi en, and how hey may
apply. These will be e lec ed upon as well, u he on.
54
To sum up poin s om he in oduc ion chap e , and b idge o Chap e 2, he
Wayback Sound Machine is a concep , a heo y, and a i ual ool o c ea ion,
in es iga ion, and use o sound om he pas . The p inciples explo ed in his p ojec ,
wi h esea ch and hough , as well as he a p ojec case-s udies ha u ilize he
concep ual ool, o m and es i s heo y. Resea che s and in es iga o s, such as hose
wo king wi hin disciplines such as soundscape ecology o sound e hnog aphy, can
also conside his heo y when conside ing an au ali y c i ically. Pa o he heo y
explo es he ela ionship o memo y and emo ion ha audi ion plays, and we can also
conside he biological and his o ic ela ionship o lis ening o ou soundscapes o
su i al. As a concep and a ool (as in a concep s a e o en ools), when conside ing
designing sound o / o he pas , a is s and designe s can make a ec i e use o hese
ela ionships. The way we p ocess sound, om wha we unde s and, allows an in ini e
complex o in o ma ion o be sensed and so ed, in collabo a ion wi h ou o he
senses. Lis ening o ou sonic su oundings, o sonic su oundings designed o an
a wo k o cinema, is a sou ce o knowledge, o complex, senso y in o ma ion.
Sound S udies is an umb ella e m o many di e en disciplines ha a e conside ing
his. Lis ening can be a o m o sc ying, he ac o de ec ing a message o ision, wi h
54
!We!can! ecall! his!pa ag aph!s a ed!in!page!14-15!o ! he! hesis!In oduc ion:!A philosophy o
he pe cep ion o sound can each owa ds a u he insigh o “na u e, objec s, con en s, and
a ie ies o pe cep ion”, when conside ing hei spa ial, causal, and empo al quali ies. This
hesis will also make he case o he ac o lis ening o be included wi hin a sound
philosophy: o hink abou gi ing one’s a en ion o a sound–a decisi e ac ion–and highligh
ha unde he mo e gene al de ini ion o hea ing: he acul y o pe cei e sounds.-
56
he possibili y o in o ma ion o ano he ime and place. The e a e h eads o hough
and wo k in hese di e en ields o conside ing sound om/ o he pas , bu a ely
ha e hey come oge he in a cohe en pa h. This is in pa wha I am a emp ing wi h
his in es iga ion, and wi h asking: Wha can we ga he om sounding he pas ,
and wi hin ha wha is he ela ionship be ween soundscape and sound design?
This in es iga ion and esea ch will help map ha pa h.
I will explo e his ques ion wi h my own case-s udy a wo k, bu as well wi h
asking his ques ion owa ds he a wo k o o he s. Mos o he wo k w i en abou
ga he s and employs sounds om he pas and/o sounding he pas in he c ea ion o
c ea i e soundscapes in cinema and a wo k, some a e examples o speci ic e ms and
echniques I w i e abou in his hesis, a ew a e examples o whe e I eel an
applica ion o he Wayback Sound Machine in p oduc ion would ha e se ed he
wo k well. A d i ing impe us o his wo k mo ing om an a p ac ice o an a
s udies esea ch p ojec and hesis was wo king wi h he Wayback Sound Machine as
a ool o sound s udy and heo y, owa ds sonic philosophy. I use my concep s,
ques ions, and he schema o analyze and c i ique he sonic aspec s o he wo k
w i en abou in he nex chap e s. I also u he explo e he ela ionship o lis ening o
ou soundscapes, paying a en ion o wha we lis ening o and asking wha we lis en
o , and c ea i e sound design, whe e we apply ha hough o exp essi e and sensible
cinema ic soundscape design.
57
Chap e II: Soundscape
à
lis ening
à
composing and compiling
The Wayback Sound Machine s udies eco ding as p ese a ion, eco ded
sou ces as ep esen a ion, hei usage as p esen a ion and ( e)p esen a ion, and a ec
in pe cep ion. To ecapi ula e poin s om he in oduc ion chap e , and b idge o
Chap e 2, I s a ed he Wayback Sound Machine is a concep , a heo y, and a i ual
ool o c ea ion, in es iga ion, and use o sound om he pas . I w o e ha he way
we p ocess sound, om wha we unde s and, allows an in ini e complex o
in o ma ion o be sensed and so ed, in collabo a ion wi h ou o he senses. When we
a e conside ing designing sound o / o he pas o c ea i e wo k, we can make
a ec i e use o his p ocess, jus as esea che s and in es iga o s, such as hose
wo king wi hin disciplines such as soundscape ecology o sound e hnog aphy, can
also conside his when conside ing an au ali y c i ically. Coun e -au ali ies can be
c ea ed and explo ed, whe e “ ac ics o disman le he isual,” (and he e, au al)
“s a egies o he hegemonic sys em,” (Mi zoe , 2011, p. 24) a e employed,
econ igu ing au ali y. Wha can we ga he om sounding he pas , and wi hin
ha wha is he ela ionship be ween soundscape and sound design?
An in e es ing, and he e in eg al, challenge o sound pe cep ion and ime is o
conside he ac and objec o eco ding sound. Al eady he ac o eco ding includes
wi hin i he ac o composi ion. A choice is made o ame a soundscape; p essing
eco d a a momen , aiming a mic ophone ha was chosen o he ame i cap u es–
sho gun, ca dioid, omni, binau al, su ound
55
–deciding upon a measu e o ime, and
p essing s op on he eco ding. Whe e e his eco ded sound goes, howe e i is used
in i s hypo he ical u u e, i al eady ca ies wi h i in o ma ion abou i s ime and
55
!Di e en !mic ophones!ha e!di e en !“pola !pa e ns”,!essen ially!whe e! he!mic!will!pick!up!
sound,!and!whe e!sound!will!be!“blocked”!spa ially.!A!ca dioid!will!cap u e!wha !is!in! on !o ! he!
mic,!and!mos ly!block!ou !sound! om! he!back,!allowing!one! o!“poin ”! he!mic ophone!a ! he!
desi ed!sound!sou ce! o !cap u e.!These!a e! he!mos !usual!mic ophones!chosen,!p ima ily! o !
con ol… he!allowance! o!block!ou !“unwan ed!sound”,!o !“noise”.!This!is!a!good!example!o ! he!
subjec i i y! and! composi ion! choices! ha ! a e! made! e en! in! he! p e-p oduc ion! o ! sound!
collec ion.!A!hype -ca dioid!o !sho gun!mic!a e!o en!wha !you!will! ind!in!a! ilm!p oduc ion,! o!
concen a e! he! eco ding! pick-up! on! he! human! oice,! blocking! ou ! he! o he ! sonic!
en i onmen al! elemen s.! Omnidi ec ional,! binau al,! and! su ound! a ay! mic ophones! will! be!
men ioned! h oughou ! he! hesis! as! choices! o ! a emp ing! o! ge ! a! ulle ! soundscape! when!
eco ding.!
64
hea ing is clea ly a majo in o ma ion channel ope a ing o abou 24 weeks be o e
bi h.
63
The mo e we unde s and and ealize abou e al hea ing and p ocessing sound,
he mo e we unde s and how e uses can de ec sub le changes and p ocess complex
in o ma ion. Memo y s a s o o m a ound 30 weeks, and i ’s possible ea ly sound
in e en ions a his ime could help babies wi h de ec ed abno mal de elopmen .
Speaking and singing o he unbo n e us, allowing hem o expe ience di e en
soundscapes while s ill in he womb, helps shape hei b ains.
64
This may be why he
u ge o do so is he e. So, he connec ion be ween he soundscape, lis ening, and
lea ning om lis ening–in conjunc ion wi h memo y–is an ea ly one. Those s eps as a
p ocess, one could he e o e heo ize, a e qui e ing ained. To ake in o ma ion om
ou sonic en i onmen ; o us in o ma ion om ou sonic en i onmen .
O’s e y i s e al mo emen s, called “quickening”, was a ound 16 weeks–
o en he ime o i s mo emen s, along he ime hea ing has de eloped. The e us
loa s in a ich and complex soundscape; i is any hing bu quie . The womb il e :
amnio ic luid, emb yonic memb anes, u e us, he ma e nal abdomen-low equencies,
and blood in eins whooshing, he mo he ’s oice and body noises such as hiccups
and he gu gles o diges ion, and o cou se, he hea bea . The mo he ’s hea bea can
be as loud as a acuum cleane and ul asounds as loud as a subway ca a i ing in a
ain s a ion. The e a e s udies showing ha he wombscape sound shapes he
plas ici y o he e us b ain, and p epa es newbo ns o hea ing and language
de elopmen , his is called “ea ly li e p og amming.”
65
We can y o mimic he
wombscape, imagining sounds being il e ed h ough he body. We can use a
hyd ophone–a p essu e mic ophone designed o be sensi i e o soundwa es h ough
63
!Chambe lain,!D.B.!2016!“The!Fe al!Senses:!A!Classical!View.!“Re ie ed!Decembe !12,!2017:!!
h p://schoolbiosyn hesis.es/wp-con en /uploads/2016/09/The-Fe al-Senses-A-Classical-
View.pd !!
64
!Ibid.!
65
!Benson,!C.,!Helle ,!H.,!Benson,!C.,!Laha ,!A.,!Webb,!A.!R.!2015.!“Mo he ’s! oice!and!hea bea !
sounds! elici ! audi o y! plas ici y! in! he! human! b ain! be o e! ull! ges a ion.”! P oceedings- o - he-
Na ional- Academy- o - Science- o - he- Uni ed- S a es- o - Ame ica.! Re ie ed! Augus ! 3,! 2020:!
h ps://www.ncbi.nlm.nih.go /pmc/a icles/PMC4364233/!!!

65
luid ma e –on he abdomen o ge an idea and sample o ou wombscape and
explo e he a ec i may ha e in lis ene s.
66
All newbo ns eme ge wi h he same c y; i is nea impossible o dis inguish
one om ano he , e en as a mo he . This could be o many easons and se e many a
pu pose. Should some hing happen o a bi h mo he , hen he indis inguishable c y
may help d aw a en ion om ano he . I could be ha , conside ing again D .
K ause’s Acous ic Niche Hypo hesis–in which animals adap hei calls o a
equency less popula ed by o he en i onmen al sounds–and aside om o he
biological easons, a newbo n’s c y is shaped by he wombscape om whence i
came, and I specula e ha one wombscape is simila o ano he . P ima ily wha a
e us is hea ing is low equency. So, i would se e ha hey would ha e an ins inc
o ini ially call ou in a high equency ange. The baby hen de elops i s c y
acco ding o i s su ounding, such as a household in he ci y e sus a coun y, a
household wi h o he child en o no , a household wi h cons an media sound. They
would adap o hei soundscape, inding hei acous ic niche.
A is and schola Jen Heuson in he Media, Cul u e, and Communica ion
Doc o al disse a ion, e e ences my use o he e m wombscape om i s ini ial
in oduc ion in he a icle “Fu u e Memo y: Womb Sound as Sha ed Expe ience
C ossing Time and Space”. (Colbe , 2015) She akes he heo y ha ou ea lies
sounds begin o shape ou u u e sel es, and applies i o wha she e e s o as,
“p oduc ions o he i age”, (Heuson, 2015) speci ically in he Wes e n U.S. egion o
he Black Hills.
The e is an obsessi e p eoccupa ion wi h bo h he p ese a ion o he i age ma e ials
and my hs and he u u e “payo ” o he i age p oduc ions. He i age p oduce s,
simila o Colbe , a e c ea ing sound en i onmen s ha hey hope will pass along
hei own inhe i ed senses and a ec s. (…) F on ie au ali y in ol es a echnological
mas e y o e ime and space; i is my h made expe ien ial he i age, a so o
immo ali y h ough a ma e ialized senso y inhe i ance. Au ali y opens up en i e
li ewo lds as esou ces o u u e use, eaching wha hese wo lds mean and how hey
66
!These! es s! can! be! accessed! and! hea d! h ough! he! o iginal! a icle! on! Sounding- Ou :!
h ps://sounds udiesblog.com/2015/01/12/pas - u u e-womb-sound-as-sha ed-expe ience-
c ossing- ime-and-space/!
66
a e o be el and inhabi ed. And, impo an ly, hese “ eachings” o expe iences a e
wha a e being made as esou ces, commodi ies, and p oduc s o bo h ou is and
he i age indus ies. (Heuson, 2015, pp. 237-239)
The e is al eady an au al cul u e su ounding and a ec ing us, om he
beginning. Media, ma ke ing, poli ics, pee s and schooling. The sound o he
eco ding ma e ial o ilm and ele ision om he 1950’s–i ’s wa m limi ed
equency ange and dus , he sligh addi ion o music jus unde , sub le and ollowing
he emo i e cu e o he s o y– o me his s ill calls up my g andmo he ’s house
whe e he ele ision was a ime-machine always swi ched on o a channel playing
olde shows and mo ies. How can a explo e his in a c i ical and aes he ic manne ,
a imes pe haps e en c ea ing coun e -au ali y? How can we imme se a lis ening
back in o i ? The disembodied sound– he acousma ic, he haun ing–embodied once
hea d. Sociologis Do een Massey said eeling ou o place is he cul u al symp om o
la e capi alism’s poli ical and social eali y, c ea ing a sense o place may ac ually
in ol e he use o a sense o disloca ion.
67
The powe wi hin ha ac , and he a is ic
u ge o c ea e, o e-c ea e i . I am in e es ed in explo ing why i happens, wha gi es
i ha powe . Bu also, how a is ic ac s can explo e i .
II. 2. Soundwalks o access ime, space, and place
Connec ing soundwalks as way o connec ing and explo ing lis ening,
memo y, and mo emen oge he , can be compa ed wi h Be gsonian me hods. Hen i
Be gson, whose w i ings on memo y inspi ed Deleuze, which I will w i e abou
u he on a he beginning o Chap e 3, belie ed ha when i comes o memo y,
no hing is e e los . Beyond he mind, which se es o s o e and ac i a e habi ual
memo y, o med by habi and s o ed in b ain ma e , he e is pu e memo y, s o ed
wi hin consciousness. (Be gson, 1911, chap. 2) As no clea whe e his pu e memo y
a chi e esides, one could specula e he body in ull, especially in conside a ion o
cellula memo y,
68
which he ull and complex body as a sensing and emembe ing
67
!Massey,!Do een.!“New!Di ec ions!in!Space”,!Chap e !in!Sonical-Rela ions-and-Spa ial-S uc u es.!
ed.!De ek!G ego y!and!John!U y.!1985.!London:!Palg a e.!ISBN!978-0-333-35403-2!
68
!In e es ingly,! he! cellula ! memo y! hypo hesis! seems! o! be! mo e! connec ed! o! p ocedu al!
memo y!and! he!body!doing,!ou side!o !consciousness,!such!as! o ming!a! auma ic!memo y,!o !
67
sys em s o es. Be gson imagined he b ain p ocessing and selec ing wi h he aid o
pe cep ion which u u e memo ies called o immedia e ac ion, usually he habi
memo ies, while he pu e memo y is s o ed and called du ing less engaged momen s,
like dayd eaming, o i i can be used o ecollec du ing pe cep ion. (Be gson, p. 42-
43)
Much like how he b ain p ocesses sound in i s wo s eams, and jus as
mys e ious. When uly ying o conside he mind as a senso y ne wo k, mo e
complex han he simpli ied i e senses many o us g ew up wi h, we almos always
need o c oss he bo de o he b ain i sel and conside he ull body as pa o his
ne wo k. As Labelle s a ed, “sound condi ions ou sense o place (...) i pa icipa es in
ela ional exchanges, in ou daily expe iences.”
69
When conside ing ha , soundwalks
become an especially use ul and engaging me hod o lis ening, deep lis ening, and
adical lis ening, wea ing pe cep ion wi h conside a ion and ac i e imagina ion o
lis ening o he pas .
The e m soundwalk was i s used by membe s o he Wo ld Soundscape
P ojec unde he leade ship o R. Mu ay Scha e in Vancou e in he 1970s.
70
Hildega d Wes e kamp de ined soundwalking in he 1974 essay “Soundwalking”, as
"...any excu sion whose main pu pose is lis ening o he en i onmen . I is exposing
ou ea s o e e y sound a ound us no ma e whe e we a e." (Wes e kamp, 1974, p. 4)
While he exac when and why is s ill a mys e y o us, o he ea lies p e-humans he
ac o walking likely would ha e a isen om he need o ind ways o su i al and
g ow h, i allowed ou hands o be ee o use ools and ouch ou wo ld, o ca y and
p ac icing! some hing.! The! body! emembe ing,! a he ! han! he! b ain! emembe ing! some hing!
abou ! he!body.!Cells!do!ha e!mechanisms! o!pass!on!memo y! o!nex !gene a ions;! his!has!been!
so! a ! s udied! in! auma ic! memo y.! !Cosie ,! Susan.!"Could! Memo y! T aces! Exis ! in! Cell!
Bodies?"!Scien i ic-Ame ican.!Re ie ed!1!May!1,!2019:!doi:10.1038/scien i icame icanmind0515-
14b!
69
!Bise na,!E.!(Augus ,!2010)!“B andon!Labelle,!Whe e!do!sounds!come! om!and!whe e!do! hey!
go?”!Didimag,-Issue-56,-July/Augus .!Re ie ed!No embe !1,!2020:!
h p://digicul .i /digimag/issue-056/b andon-labelle-whe e-do-sounds-come- om-and-whe e-
do- hey-go/!!
70
!While! his!is! ue!o ! he! e m!“soundwalk”,!I!wan ! o!also!acknowledge!p io ! o! hei !use!a is !
Max!Neuhaus!conduc ed!his!lis ening!walks!be ween!1966!and!1979.!The e!is!a!whole! imeline!
ha !could!be!mapped!o !lis ening!wi h!walking,! he!span!o !which!would!go!back! o! he!songlines!
o !Abo iginal!peoples!o !Aus alia.!Ea ly! e sions!o ! his! hesis! esea ch!did!begin!down! ha !pa h,!
bu !i !was!soon! ealized!i !would!be!a!whole!o he !disse a ion! o!map!i !ou !p ope ly.!Ins ead!o !
a emp ing! a! summa ion! o ! such! expansi e! his o y,! I! will! admi edly! jump! om! ha ! ea ly!
specula i e! momen ! whe e! su i al! mo ed! owa ds! aes he ic,! o! he! con empo a y! e m!
soundwalk.!
68
h ow, and explo e a wo ld whe e he clima e had changed d as ically o
de o es a ion. Once hese needs we e me , walking could become in pa a symbolic
o m o ela ionship wi h he wo ld, possibly he i s aes he ic ac o humani y.
71
A
walk in sea ch o wa e , o , i he loca ion o he wa e is known, a walk o a us ed
sou ce o wa e whe e beau y and sensa ion can be expe ienced wi h hough and
ocus. We can ex end his heo y o he ac o lis ening, in a possible pa allel his o y.
In Came a Lucida, Ba hes s a es, “I wan a his o y o looking.”
72
I wan his o ies o
lis ening, and deepe lis ening o his o ies.
II.2.a. The i s Wayback Sound Machine
Wo king on a p ojec in Co nwall yea s ago, I walked a lesse -known a m o
he San iago Pilg im Rou e called S . Michael’s Way, an ancien pilg im pa h hal -
co e ed in ime and ime’s a i ac s. As I go los again and again making my way
owa ds Sain I es, I ound mysel ma eling a all so s o sensa ions. My ea s uned
om he p ojec on which I had labo ed, I was especially aken by he sound. Towa ds
he middle o he pa h a op he hill, he wind om bo h sides ca ied sonic pieces o
he day o day om he illages on each side, wisping pas as quickly as hey came. I
began o wonde wha his pa h may ha e sounded like back in he ime o i s amed
hie es and pi a es, and back when i s soundscape was composed o sha ed occasions
celeb a ed wi h he oices o people, p ies s, p aye s, and popula ed ma ke s and ai s
along he way. As I con inued walking, I wonde ed how i migh ha e sounded e en
be o e hen, be o e he hills we e blanke ed wi h c ops and ca le, be o e he many
ba les ha mus ha e been waged; illages buil and g azed. We e he e mo e bi ds
hen? We e he e mo e ees? We e he e mo e boa and ox? Wha abou e en be o e
hese hills we e hills; could he e be a way o soni y hese hills o ming? I s a ed o
d eam o a wayback machine o sound. Wha i as you walked his pa h, you could
lis en o ime spinning back, lis en o how i migh ha e sounded, lis en o i s his o y?
And wha could you ake om ha expe ience; wha would he expe ience
con ibu e? (Colbe , 2014a)
71
!Ca e i,! F.! (2017).! Walking! as! an! aes he ic! p ac ice! {Walkscapes:! El! anda ! como! p ác ica!
es é ica}!Ba celona,!Spain:!Edi o ial!Gus a o!Gili.!pp.!19–20.!
72
!Ba hes,!R.!1981.!Came a-Lucida-(La-chamb e-clai e).! ans.!Richa d!Howa d.!New!Yo k:!Hill!&!
Wang.!p.!12!
69
This i s expe ience was in e es ingly acousma ic, wi h hose au al
agmen s a eling o me om unknown sou ce and emission. A bi like Rabelais’
ozen sounds as well. The au al haun ology (I will e u n o his e m u he on) o
his expe ience, a pe sis ence o sounds alluding o and calling up he pas , led o
conside ing sound h ough laye s o ime, and how ha migh be pe cei ed; and how
ha migh be c ea ed o be pe cei ed. I was inspi ed o explo e he concep in
p ac ice, bu also w o e an ea ly pape on i in 2013, ha begins wi h a quo e om
Place Ma e s, whe e F ank Vanclay says, “’Place’ is gene ally concei ed as being
‘space’ imbued wi h meaning. Thus, i e e s mo e o he meanings ha a e in es ed
in a loca ion han o he physicali y o he locali y.” (Vanclay, 2008.)
73
Biophysical
cha ac e is ics (Biophony) can es ablish a ounda ion o hese pe sonal meanings ha
ans o m he sense o space o place ( he speci ic sound o he ees in you childhood
backya d, calling up he hiding spo you would un o when you didn’ wan o go
inside in he e ening, acing ea s o he da k wi h a shield o amilia sense).
Be o e examining how ea lie cul u es migh ha e used audi o y spa ial awa eness,
we need i s o explo e how sound connec s lis ene s o an ex e nal e en . Wha
would hea ing ha e mean o ou dis an ances o s? (Blesse & Sal e , 2009, p. 71)
D . Mi iam Kola is one o he ea lies schola s I con ac ed on his concep ,
ha ing been ecommended o he esea ch on Cha ín de Huán a , a 3,000-yea -old
ce emonial complex in he Pe u ian Andes. Fo six yea s, Kola measu ed acous ics
and conduc ed audi o y expe imen s on si e, wo king owa ds an “in eg a i e
a chaeoacous ics”, which b ings oge he acous ics, audio enginee ing, pe cep ual
psychology, an h opology, and compu e science. (Kola , 2013a) She s a es how
impo an i was o his wo k o conside subjec i e possibili ies, along wi h he
applica ion o he scien i ic me hod owa ds heo y and measu emen . Kola explains,
“I ocus on unde s anding how sound in luences people, wha people do wi h sound,
and wha his means o humans as indi iduals and social beings.” (Kola , 2013b,
pa a. 3) Fo example, a Cha ín, Kola and he eam explo ed he e ec he ollowing
channels o wa e buil in unde nea h he s uc u e’s Ci cula Plaza s ai case and
conside ed he pe cep ual a ec s i would ha e had on audiences housands o yea s
73
!Vanclay,!F ank.!2008.!Place-Ma e s.!Si ed!in!“Wayback!Sound!Machine:!Sound!Th ough!Time,!
Space,!and!Place”,!in!Soundscape:-The-Jou nal-o -Acous ic-Ecology!13,!no!1!(Win e /Sp ing):!21-24!
2014!

70
ago. Cha ín was a spi i ual emple, and i is specula ed o ha e been a Shamanis ic
si e in he con ex o con incing ollowe s, wi h e idence o p oduc ion and
consump ion o psychoac i e plan s ound widesp ead. Signs o ligh manipula ion
and exclusion, ga he ing and isola ing a eas, and he acous ically manipula ed and
mo phed sound o wa e – he wa e channels di e ing, abso bing, o e lec ing–could
acili a e ull senso y psycho opic expe iences. “A chaeologis s oe a wa e ing line:
as p o essionals, we s i e o p esen a anspa en accoun o ou explo a ions and
disco e ies, bu a he same ime, we’ e compelled o c ea e na a i es ha explain
ou ac i i ies and mo i a ions.” (Kola , 2013b, pa a. 4) Much like a chi is s, o o he
employmen s owa ds he documen s o ime. Kola s a es in he sec ion, “Echoes o
Ancien Expe ience,” ha “Sound–because i ’s expe ien ial–is an epheme al a i ac
o spaces and objec s ha we can use o be e unde s and pas li e. Pe o ming a
eplica shell ho n inside Cha ín’s galle ies, I can eel h ough my body he esonances
be ween ins umen and a chi ec u e, a physically and emo ionally ans o ma i e
expe ience ha would ha e been simila ly sensed—bu in e p e ed di e en ly—by
humans in he pas ”. (Kola , 2013b)
II.2.b. Radio Te amo o (and he SUNY Bingham on His o ical Soundwalk)
The concep o a Wayback Sound Machine conce ns i sel wi h, as well as
p oblema izes, his o ies–and wha we de ine and decide as his o ies. The Wayback
Sound Machine wo ks o challenge his o ies, up u e his o ic lines, challenge who
d ew hem, a imes e eal how hey we e c ea ed, a imes e eal who c ea ed hem,
and why. I depends on he indi idual p ojec , bu he Wayback Sound Machine’s
concep s and ques ions help he guide and unco e and exp ess wha is unco e ed.
Allowing o ano he au o-e hnog aphic momen o e lec he in e nal on ha
hough : as I did in he i s Wayback Sound Machine, I o en ind mysel imagining
wha he place I am expe iencing sounded like a di e en poin s o ime while
walking, as well as placing ha imagined soundscape nex o he cu en one on he
pa h I am expe iencing; hen supe -imposed on o… hen luc ua ing back and o h
h ough a ime line and geog aphic line, in a compa a i e senso y expe ience. The
s ee I li e on in Lisbon, Po ugal was once an impo an s eam ha made i s way o
he Rio Tejo. I can imagine in on o he chu ch ha s ood hen, and s ill s ands now,
71
he washing o clo hing, he swimming, he wa e ing o animals, he sounds o he
wa e and cu en ouching ea h and ock.
A p ojec ha I explo ed his wi h is Radio Te amo o {Ea hquake Radio},
74
(Colbe & Cos a, 2013) a adio based soundwalk in which audience membe s walk a
pa h om Con en o do Ca mo, down one o Lisbon’s winding hills o he i e . An
old no e om a wo k no ebook om he concep ion o he p ojec eads, “Will
a emp o go acous ically back in ime.” A key momen s, and b oadcas ed o e
speci ic adio equencies, he audience lis ens on po able adios o “a b oadcas om
back in ime” o he g ea and ho ible ea hquake o 1755 ha des oyed mos o he
ci y and killed up o 100,000 people wi h i s subsequen i es and sunamis a e he
ini ial quake i sel , b inging he seemingly dis an de as a ion in o con empo a y
space and consciousness. Ha ing no access o ac ual eco dings o he e en o
cou se, I had o imagine he subjec i e expe ience h ough my own senses in e nally,
employing pe sonal and collec i e memo y ga he ed when eading accoun s om
su i o s, along wi h ea ly da a ha was collec ed.
The b oadcas ed adio-play “ om he pas ” wea es down he pa h wi h he
audience, and in o hei sound ack o he p esen , c ea ing a dissonance and dialogue
o ime and place, embodied and collec i e. The audience conside s his his o y om
he pe spec i e o he phan om eco de –each pause o ea , each decisi e u n o
su i al, each wi nessed disas e –we hea as hey migh ha e hea d, hei sonic POV.
We ba e wi ness in wo di e en imes, a he same ime and place. As he sunami
hi s, we a e unde wa e wi h hem, and he ansmission goes ou .
< Figu e 4 >
Sound S udies schola and au ho o he Sonic Colo Line, D . Jenni e
S oe e w o e abou Radio Te amo o in he sound s udies blog Sounding Ou !
Radio Te amo o is a soundwalk esea ch and a p ojec designed o b ing his
seemingly dis an de as a ion in o con empo a y consciousness. Based on he idea o
74
!The!audio! ile!o !Radio-Te a o o!can!be!lis ened! o!he e:!h ps://soundcloud.com/maile-
colbe / adio e amo o-mix-o -li e!!
72
lis ening o sound om a pas his o ical e en , “Radio Te amo o” is a a eling
audience imme si e e en .
75
The p ojec and esea ch o Radio Te amo o asks he ques ion, wha can
lis ening o he pas e eal abou he now, bo h in a is ic p ac ice and esea ch? Can
expe iencing an e en om he pas , embodied and p esen , allow o a new embodied
knowledge and unde s anding o ha e en ? Wha we expe ience, as opposed o, o
example, wha we ead, is p ocessed and s o ed di e en ly wi hin us, and a con eys
insigh in o how we unde s and and o de ou wo ld.
76
Radio Te amo o’s si e-based
(ye mobile) sound design wea es be ween he p esen and he pas and is based on
esea ch on he ea hquake, using documen s o i s hand expe iences and he i s
seismic and “ea hquake-p oo ” a chi ec u e ha came a e wha may be he la ges
ea hquake eco ded in his o y. The soundwalk included hand-held sculp u al
oc ahed a, esea ched and designed by a is Je Cain, c ea ed using a geome ic
aming sys em designed and assembled as a singula o m app oxima ing a
Pombaline cage, he i s mode n ea hquake esis an a chi ec u e. The adio
ansmi e and o he key elec ical de ices we e suspended in hese 1- oo 3-inch
oc ahed a made o b igh ly colo ed s icks o wood, held oge he wi h ic ion and
ension. The la ge cage b oke apa in o he indi idual oc ahed on o aid in he
anspo a ion o equipmen and p o iding a isual way- inding aide o he
pa icipan s.
The concep and p ojec inspi ed D . S oe e o de elop wi h he s uden s a
his o ic soundwalk whe e hei Uni e si y, he S a e Uni e si y o New Yo k,
Bingham on, was loca ed. The concep s and me hods we e wo ked in o a class
syllabus, wi h a inal p ojec esul ing in a sound-map and a chi e explo ing and
in es iga ing he soundscapes o Bingham on’s pas and p esen .
77
S oe e w o e
abou he ou comes wi h he s uden s: “ he majo i y opened hei ea s o al e na i e
75
!S oe e ,!J.!(2014).!“SO!!Ampli ies:!Maile!Colbe ,!Rui!Cos a,!and!Je !Cain’s!“Radio!Te amo o”.!!
h ps://sounds udiesblog.com/2014/10/23/so-ampli ies-maile-colbe - ui-cos a-je -cain-and-
adio- e amo o/!
76
!Bende ,! J.! (1993)! “A ! as! a! Sou ce! o ! Knowledge:! Linking! Analy ic! Aes he ics! and!
Epis emology”.!Con empo a y-Philosophy-o -A ,!(J.!Bende !&!G.!Blocke ,!ed.)!Englewood!Cli s,!NJ:!
P en ice!Hall!
77
!S oe e ,! J.! 2017.! “The! Bingham on! His o ical! Soundwalk! P ojec .”! The! P ojec ! can! be! ound!
online!he e:!h ps://bingham onsoundwalkp ojec .wo dp ess.com/!
73
unde s andings ha le hem ques ioning he exclusi i y o hei own lis ening
p ac ices. S uden s ealized ha while hey may ha e been inhabi ing Bingham on o
he pas ew yea s, hey hadn’ been pe cep ually li ing in he same own as yea -
ound esiden s, and, con e sely, ha he locals’ endencies o hea s uden s as
p i ileged nuisances had his o ical and s uc u al oo s.” (S oe e , 2017) Lis ening as
an ac owa ds an embodied empa hy and unde s anding wi hin a sha ed geog aphy,
spanning gene a ions.
II.2.c. Soundwalk-walk: Lis ening backwa ds, mo ing o wa ds:
78
Soundwalk-walk (Colbe & Mon ei o, 2017) is a p ac ice-based a esea ch
p ojec , holding an emphasis on walk. A guided and sha ed au al expe ience o a
soundscape along a pa h, wi h a concen a ion on mo emen , he ex e nal and he
in e nal, and he ela ionship be ween ou bodies lis ening and mo ing h ough ime,
space, and place.
Why do we call i Soundwalk-walk? Wha makes a soundwalk-walk di e en
om a soundwalk? O a walk, o ha ma e ? How do we de ine his, and why do we
de ine his? Ha ing al eady desc ibed a soundwalk, we know ha a soundwalk and a
walk hold pa h in common, in he sense ha mo e usually we se ou on a pa h wi h a
means o an end in mind. A soundwalk-walk wishes o hold ocus on he momen
be ween he poin A and B, linge he e wi h a s udy and play on he ela ionship
be ween he mo emen o walking wi h he ac i i y o lis ening, and conside wha
knowledge and applica ions can be gained om his. Walking and lis ening– wo ac s
o en ook o g an ed, au oma ically, no o en conside ed oge he . (Colbe &
Mon ei o, 2017)
II.2.c.i. Walking owa ds ou bodily ea s
78
!Soundwalk-walk:,Lis ening, Backwa ds,, Mo ing, Fo wa ds,, a! p ac ice-based! esea ch!
p ojec ! by! Maile! Colbe #and! Ana! Mon ei o#(FCSH-UNL/IFILNOVA).! The! o iginal! p oceedings!
om! he!In isible!Places,!Sounding!Ci ies!Sound!Symposium,!w i en!by!Colbe !and!Mon ei o,!
2017,!can!be! ound!he e:!h p://in isibleplaces.o g/#p oceedings.!Exce p s,! he!sco e,!and! e-
w i ing! om! ha !pape !a e!wi hin! his!sub-chap e ,!wi h!pe mission! om!Mon ei o.!A!blog!wi h!
images!and!sound! eco dings!can!be!accessed!he e:!h ps://soundwalk-walk. umbl .com/!
80
II.2.c. i. Soundwalk-walk, he sco e
85
Soundwalk-walk is a soundwalk wi h a concen a ion on walking, mo emen ,
and he ela ionship be ween ou bodies lis ening and ou bodies mo ing h ough
ime, space, and place, guided by a is s and esea che s Ana Mon ei o and mysel . A
guided, sco ed, and cho eog aphed walk ha includes he ocus o deep o adical
lis ening, in e wined wi h he ocus o mo emen medi a ion and kines he ic
explo a ion. Two o compose Pauline Oli e os’ sco es om Sonic Medi a ions
(1974) we e wo en wi h a mo emen medi a ion, wi h pe mission om he
ounda ion, as well as he concep and ques ion o sounding place, and sounding place
in he pas . Oli e os’ p ac ices o lis ening and Deep Lis ening o e guides o bo h
lis ening as well as sounding, o en as adical ac s in hei concen a ion and deep
a en ion o ou sonic en i onmen s. The p ac ice o Deep Lis ening is no able o i s
commi men o cul i a ing ecep i i y, o “ex end ecep i i y o he en i e space/ ime
con inuum o sound”. (Oli e os, 2005) And like Soundwalk-walk, Oli e os held
impo o he ela ionship be ween he body mo ing, and he body lis ening, and o he
in e nal and ex e nal soundscapes ha could be accessed in ha p ac ice. Like many
o Oli e os’ Deep Lis ening p ac ices, Soundwalk-walk begins wi h a slow walk,
uning he body, paying a en ion o i , u ning ha a en ion inwa ds and deepe , hen
beginning o a end slowly ou wa ds using he lis ening p ac ices, such as: Walk so
silen ly ha he bo oms o you ee become ea s.
86
(Oli e os, 1974)
Walking slowly in o de o no ice and conside sensa ion and pe cep ion.
Walking slowly wi h deep lis ening changes ou usual ime, c ea ing an e en wi hin
ou sel es ha can be called upon la e . Remembe ed o i s di e en ime el , i s
concen a ion and conside a ion o sensa ion, how his a ec ed us, wha his made us
hink abou and eel. In a way, his allows a momen o he body wi h he mind o
eco d. The s a bu on: slow down you walking, you b ea h, lis en and eel. The
end bu on: ake a deep b ea h, open you eyes, and come o he p esen . The
playback: ecall wha you we e expe iencing and hinking wi h he o he
85
!The! ull!sco e!can!be! ound!in! he!Annex,!pp.!ii-iii.!
86
!Oli e os,!Pauline.!“Na i e”,!in!Sonic-Medi a ions.!Smi h!Publica ions.!1974.!!

81
soundwalke s. One o he pa icipan s on he island w o e o me he ollowing yea o
say ha she s ill e u ns o ha momen e e y now and hen.
II.3. Field Reco ding and Phonog aphy: A chi e o ming and
a chi e using– ime in he medium
As we a e p ima ily a isual cul u e, no longe connec ed o wha en i onmen s can
ell us h ough sound, we’ e los au al acui y once cen al o he dynamic o ou li es.
F om wha we ha e jus begun o see, i appea s ha ancien human beings had
lea ned well he lessons impa ed by na u al sounds. Thei li es depended as much (i
no mo e) on hei abili y o hea and unde s and he audio in o ma ion impa ed by
hei su oundings as hose gi en by isual cues. (K ause, 1993, p. 6)
We walk, and we lis en, and we ha e enac ed hese wo ac i i ies oge he
om ime immemo ial, o en wi hou much hough abou i . We end o hink o his
as wo ac s, a he han wo pa s o a complex bodily sys em sensing he wo ld
a ound us and gi ing us in o ma ion. Some imes a sound a es s ou mo emen , we
s op o lis en. We s op o ocus, o no make sound om ou own body, o y and
silence ou sel es o b ing in “pu e” ha ou side sound in. The ocus o ha momen ,
he in en o he ac , and he na u e o he sound ha called ou a en ion in he i s
place, is e y likely he beginnings o he desi e o eco d sound–whe he pe son,
place, o hing. Once we began o lis en aes he ically, once i was no longe abou
pu e su i al bu also beau y and wonde , he e would be pleasu e and aes he ic
in e es , and he desi e o expe ience again wha ou own memo y is no ully capable
o . When we lose some hing–a pe son, a momen –i is o en mo e he sense o
ha / hem ha we miss. Memo ies may ini ially haun as we a emp o call up sounds
and smells and empe a u e and ouch. They may play back o us as an abs ac ion,
missing an essence. Essen ia: being, om esse, o be. We use his wo d in connec ion
wi h he senses, an essence o la o , an essence o scen . We deba e o e wha
essence means, pe haps elusi e due o i s connec ion o he senses, which we a e also
s ill s i ing o de ine. Wha makes some hing wha i is, and wha happens o ha
82
some hing when he some hing i is essen ial o is gone?
87
Can we cap u e ha , in a
sense, b ing an essence o ou memo ies?
Pe haps ou ools o cap u e we e no in ended o mimic, bu a he se e
mnemonic. When he Lumiè e B o he s de eloped hei Cinéma og aphe, wi hin a
ew ilms hey began o expe imen wi h he ea lies cinema ic echniques o change
ime and he sense o mo emen , o c ea e na a i es and p o oke a ec and
emo ion.
88
(Lumiè e, 1895) The i s sound eco ding made was no o a oice
speaking, bu o a oice singing a is ic and exp essi e composi ion. Édoua d-Léon
Sco de Ma in ille’s eco ding on his Phonau og aphie o a endi ion o Au Clai de
la Lune, 1860, was eco ded nea ly wo decades be o e Thomas Edison. In 2015 he
UN induc ed his wo k and ecognized he sound eco dings as, “humani y’s i s
eco dings o i s own oice”, bu in his own li e ime Sco de Ma in ille’s wo k was
o e shadowed by Edison’s. Humani y’s i s eco ding o i s oice; he choice was
h ough song, h ough exp ession o p o oke sensa ion.
89
(Fi s Sounds, 2007-2009)
And when sensing became less abou su i al, and mo e abou an aes he ic?
Pe haps ha is when we began o d eam o ways o cap u e he sense a ound us, as a
b idge h ough limi a ions on ime and memo y, o e u n. A e he ma e ial aspec s o
sound anscenden ? I hea he e, no he e…pu simply his loca ing sense can be
p o oked h ough a sound objec (a hamme hi s he wall nex o me), o a eco ding
playback de ice ( he eco ding o a hamme hi ing a wall is played nex o me).
You wo ds, o example, a e p ese ed in he in- oil, and will come back upon he
applica ion o he ins umen yea s a e you a e dead in exac ly he same one o
oice you spoke in hem in.
87
!Jones,! Jan-E ik.! 2018.! “Locke! on! Real! Essence.”! The- S an o d- Encyclopedia- o - Philosophy.!
Edwa d! N.! Zal a! (ed.)! S an o d,! Cali o nia:! Me aphysics! Resea ch! Lab,! S an o d! Uni e si y:!
h ps://pla o.s an o d.edu/en ies/ eal-essence/!!
88
!You!can!wa ch! his!un old!in! he!1996!“Lumiè e!B o he s’!Fi s !Films”!collec ion! om!Kino!
Video.!!
89
!Ano he !sounding!o ! he!pas ,!Fi s -Sounds-is!a!p ojec ! ha !s udies,! esea ches!and!de elops!
me hods!and! echnology! o!play!back! he!ea lies !audio! eco dings,!including! om!Édoua d-Léon!
Sco ! de! Ma in ille,! Thomas! Edison,! Cha les! Ba chelo ,! and! he! Vol a! Labo a o y! Associa es.!
Thei !websi e!a chi es! hei !wo k!be ween!2007-2009,!including! he! esea ch,! ools,!and!access!
o! he! eco dings! o!lis en! o,!as!well!as!use!wi h!a ibu ion.!All! hei !wo k!is!unde !C ea i e!
Commons! A ibu ion! licence.! Thei ! s a emen :! “We! ha e! digi ally! p ese ed! e e y! ai bo ne!
sound! eco ding! known! o! exis ! om! be o e! 1861,! plus! many! incunabula ! eco dings! made!
he ea e ,! and! we! o e ! ee! and! uni e sal! access! o! ou ! images! and! sounds! on! his! si e.”!
Re ie ed!Ap il!23,!2018:!!h p://www. i s sounds.o g/sounds/sco .php!!
83
How many imes?
As long as he in- oil las s. This ongueless, oo hless ins umen , wi hou la ynx o
pha ynx, dumb, oiceless ma e , ne e heless mimics you ones, speaks wi h you
oice, speaks wi h you wo ds, and cen u ies a e you ha e c umbled in o dus will
epea again and again, o a gene a ion ha could ne e know you, e e y idle hough ,
e e y ond ancy, e e y ain wo d ha you chose o whispe agains his hin i on
diaph agm.
90
Wha is ma e ial dis ance in conce n o sound? I hea he e, no he e. I eco d
ha he e, you hea he e, he e. Jean-Luc Nancy w i es abou he cogni i e subjec i i y
in sound, abou in en ionali y in lis ening, how he lis ene lis ens, and hei choices in
he ac o lis ening. In Lis ening, (2007), his is in e e ence o lis ening o Pie e
Schae e , bu we can ex end he ideas o esonance, o he ac o lis ening, sending
and esending, he esonance o bo h he s uc u e o he subjec , and o sense. (Kane,
2013, pp. 439-447) And now we can conside wha happens wi h he addi ion o he
in en ionali y o he ac o eco ding, which includes he in en ionali y o he
eco dis ’s lis ening choices, and wha hey in end o he specula ed u u e lis ene .
A eco ded sound anscends geog aphy. A eco ded sound anscends ime. I
allows a lis ene o sha e a space and pe spec i e wi h he eco dis . I allows a u u e
people o hea he songs, languages, oice, and sonic su oundings o people passed,
and possibly o hei sha ed pas . I allows o an ex inc bi d o call in o he u u e,
o a child o hea ha bi d and wonde , and ques ion, and o ha e ha ques ion a ec
he u u e and he e o e pe haps he u u e o o he s. I o en hink abou wha
soundscapes o sound I ha e expe ienced ha O. migh no ha e he oppo uni y o
expe ience when she’s olde . Al eady since my childhood isi ing amily summe s in
Hawaii, h ee bi ds ha I had hea d in my childhood soundscape; ha my mo he
g ew up wi h, ha he a he g ew up wi h, ha his pa en s g ew up wi h (and so on),
a e no longe calling in he wild. Bu wha he wo ld and I can sha e wi h O. and he
90
!Owens,!B.!2012.!“Thomas!Edison’s!Tin!Foil!Reco ding.”!Inside- he-Conse a o ’s-S udio,-An-A -
Conse a o ’s-Jou nal.!F om!an!in e iew!wi h!Thomas!Edison! om!The-Washing on-Pos ,!June!
11,!1878,!du ing!his!p esen a ion!o !his!“sound!w i e ”!a ! he!Smi hsonian!Edison’s!A s-Memo ia,!
concep ! o ! he! phonog aph,!wha ! he! called! his! Sound! W i e .! Re ie ed! No embe !13,! 2015:!
h p://inside heconse a o ss udio.blogspo .com/2012/04/0- alse-18-p -18-p -0-0- alse-
alse.h ml!-
84
gene a ion–can gi e he , can lea e he –a e eco dings, con ex o hose eco ding,
and a wa ning o he u u e.
91
The sound lib a y I am cons an ly c ea ing, since my ea lies sound a and
design wo ks, shaped by my choice and pe spec i e, my a and my esea ch–whe e o
hi s a , when o s op, whe e o poin he mic, wha equipmen o use, how o ame
his au al momen ha cap u ed me and in oked he desi e o sa e and o sha e. I
hough o his o en du ing he ea ly yea s o his hesis when a iend and g ea
soundscape ecologis and compose had passed. S e en Mille le a weal h o music,
sound, and w i ing ha his daugh e and amily can sha e.
92
His daugh e will be able
o pu on headphones and anspose o a space he a he o med wi h his pe spec i e,
his choices, his in e es s. A sha ing ac i e wi h him, anscending space and ime, he
in he now, sha ing he soundscape o his now, hen. This is no a igid documen o
ime, he now migh bleed in h ough headphones o an open window in he oom she
is lis ening in and may mix and mingle wi h he soundscape o his hen-now, mixing
and mingling ime and place, and pe spec i e. The Wayback Sound Machine isn’
abou a eling o a pas , bu expe iencing a pas in, and wi h, ou p esen ...making i
p esen .
And as I w i e his, my i s o icial ull d a o his hesis, (2018) I am
lis ening o he eco dings o ano he iend and collabo a o , made in a ious a eas in
Boli ia. Man ico Mon e o was a Mexican sound a is , phonog aphe and ield
eco dis , ee imp o ise , and esea che in bioacous ics and biosemio ics.
93
I jus
ound ou he passed away. I w i e his and lis en; I hea he call o he Agelaioides
badius, common name he g ayish baywing. Two ac ually, as one close o whe e he
was eco ding, calls, and is answe ed by ano he u he away. The e is a ic in he
91
!Some!examples!o ! hese!sounds,!in! he!Macaulay!Lib a y:!
Kaua’i `O’o: h p://macaulaylib a y.o g/audio/6031
Po’ouli: h p://macaulaylib a y.o g/audio/5125
Hawaiian C ow: h p://macaulaylib a y.o g/audio/13434
92
!Aside! om!his!websi e,!S e en!Mille !had!a!blog!wi h!sound!and!w i ing!abou !sound,!which!
can!be!accessed!he e:!h ps://sigh ssoundswo ds.wo dp ess.com/abou /!
93
!The! memo ial! message! we! w o e! a ! Sonic-Field- o ! Mon e o! can! be! ound! on! he! si e! he e:!
h p://sonic ield.o g/2018/05/man ico-mon e o-1973-2018/!
85
dis ance, and a one poin a ca passes on a di oad a bi close o him. The echo o
he sound gi es us he moun ains, he insec s gi e us he summe , and I am p esen
wi h he eco dis , in ha momen o eco ding, in a anscendence I ind speci ic o
ield eco dings. I sounds like he iew was imp essi e. The nex ack’s insec s also
gi e us hea , and he sun se ing in Llanos de Moxos, a opical sa anna. We hea we
a e ou o he moun ains. We a e low o he g ound, cooling wi h he coming nigh . A
single bi d calls nea , somehow mou n ul wi h no eply amids all he sonic emissions
a ound i . Each call has i s momen , i sounds like a music composi ion. I am sensing
h ough Mon e o’s sonic pe cep ion and poin o iew, I am expe iencing no jus
ime, bu place, om he place and ime o his eco ding.
94
The e is a ela ionship be ween he ield o biosemio ics and K ause’s
heo ies, ied wi h a his o y o lea ning o lis en. Biosemio ics is a ield ha b ings
a eas o semio ics and biology oge he owa ds s udies o p elinguis ic meaning-
making–how signs and codes a e p oduced and in e p e ed, he signi ica ion,
communica ion, and habi o ma ion o li ing p ocesses.
95
Biosemio ics posi s ha
li e is based on signs and codes, and ha his goes down o a molecula le el–copying
and coding. Na u al selec ion can be conside ed copy-based, and na u al con en ions
code-based; signs a e undamen al componen s o he li ing wo ld. (Ma cello, 2008)
Mon e o’s wo k was a ound he calling and lis ening pa e ns in zoosemio ics,
96
and
he ela ionship wi h he ecoacous ics
97
o a place. We can clea ly see he ela ionship
94
!Some! o ! Mon e o’s! eco dings! can! be! accessed! he e:! h ps://soundcloud.com/man ico-
mon e o!!
95
!Ba bie i,!Ma cello.!2008.!“A!new!unde s anding!o !li e.”!Na u wissenscha en-95.!pp.!577-599.!
Re ie ed!Decembe !29,!2019:!h ps://doi.o g/10.1007/s00114-008-0368-x!!
96
!Zoosemio ics!is!a!pa !o !biosemio ics! ha ! ocuses!on! he!semio ic!s udy!o !how!animals!use!
and!c ea e! o !use!signs,!animal! o ms!o !knowing.!I !di e s! om!o he !animal!communica ion!
ields! in! ha ! i ! includes! semio ics! sha ed! by! animals! and! humans,! and! c oss-species!
communica ions,!which! ies!back! o!K ause’s! heo y!and!In o ma ion!Bea ing!Elemen s!in!sha ed!
soundscapes.! Fu he ! eading! on! his! subjec ! speci ically! can!be! ound! he e:! Ma inelli,! D.! &!
Leh o,! O.! (Eds.)! (2009).! Special- issue:- Zoosemio ics.- Sign- Sys ems- S udies- 37(3/4):! G.! Kaplan,!
Animals!and!music:!Be ween!cul u al!de ini ions!and!senso y!e idence,!423–453;!K.!Kleisne ,!M.!
S ella,!mons e s!we!me ,!mons e s!we!made:!On! he!pa allel!eme gence!o !pheno ypic!simila i y!
unde !domes ica ion!454–476;!S.!Pain,!F om!bio he o ics! o!zoo he o ics,!498–508;!K.!Tüü ,!Bi d!
sounds! in! na u e! w i ing:! Human! pe spec i e! on! animal! communica ion,! 580–613;! E.!
Vladimi o a,!Sign!ac i i y!o !mammals!as!means!o !ecological!adap a ion,!614–636;!C.!B en a i!
Kon ad!Lo enz’s!epis emological!c i icism! owa ds!Jakob! on!Uexküll,!637–660).!
97
!Ecoacous ics! in es iga es! he! ecological! ole! o ! sounds,! using! long! e m! moni o ing,! habi a !
heal h,!biodi e si y!assessmen ,!soundscape!con e sa ion,!and!ecosys em!managemen .!Fu he !
Reading!on! his!discipline!can!be! ound!he e:!Fa ina,!A.!(2018)!“Pe spec i es!in!ecoacous ics:!A!
con ibu ion! o! a! de ining! discipline.”! Jou nal- o - Ecoacous ics.! Re ie ed! Augus ! 28,! 2020:!

86
om his o K ause’s heo ies o ea ly human’s ela ionship wi h lis ening o place
o ming ou sense and language o music. Lis ening o place o ming ou sense o
Place.
We can see, and hea , how lis ening o ou changing soundscapes can help us
pe cei e and p ocess Clima e Change. Clima e Change was he mo e publicly used
e m when I began he ea lies wo k on he ques ion o : Wha can we ga he om
sounding he pas ? The e is a li e al side o ha ques ion–we ga he . We sea ch and
esea ch and go ou and eco d and edi and a chi e, and pe haps sha e. We collec ,
owa ds a hope o ecollec ion, and he hope ha wi hin ha we migh pe cei e wha
has changed. Bu wha hen? Do we wan o conside wha ha means, wha compels
us o hink and eel u he ? Compelling a is ic wo ks ha use hese eco dings o
aise consciousness o he p oblem, o e oke emo ion and ca e and ans e
in o ma i e con ex can p o oke hough , esea ch, ac ion, and change.
Now some e e o i as Clima e C isis, and i is pas sub le changes. Fo many
species and ecologies, i ’s no a whispe , bu a bang be o e a silencing. The da e is
igh he e, as a e he eco dings. We all wi ness, in ou backya ds and h ough media,
all he bangs and silencings. Some imes we eel bad, o sca ed, o any o he spec um
o eelings ha a e app op ia ely associa ed wi h he de as a ion o ou wo ld. Bu
s ill he hype objec , his a ec only las s so long. As biodi e si y p o esso Ke in
Gas on explains, “humans seem inna ely be e able o de ec he comple e loss o an
en i onmen al ea u e han i s p og essi e change.”
98
(Gas on, 2011)
Timo hy Mo on employed he e m hype objec in The Ecological Though ,
o desc ibe “objec s” ha a e massi ely sp ead h ough ime and space, so ha ou
pe cep ion and speci ic aming o hem is de ied. (Mo en, 2010, p. 19) Plu onium is
an example o a hype objec , exis ing on a imescale we can’ comp ehend. (p. 19)
Global wa ming is a p ima y example o a hype objec . Hype objec s a e also places
a is s o en wo k in; places ha ha e ouble being pe cei ed, he complexi y o a
place ha con ains mul i udes. (Mo on, 2016, p. 12) Mo en w i es abou place in
Da k Ecology, “Place has a s ange loop o m because place deeply in ol es ime.
h ps://www. esea chga e.ne /publica ion/325998314_Pe spec i es_in_ecoacous ics_A_con ib
u ion_ o_de ining_a_discipline/ci a ion/download!!
98
!Gas on,!Ke in.!2011.!“Common!Ecology”,!in!BioScience,!Volume!61,!Issue!5,!May.!pp.!354-362.!
Re ie ed!on!Janua y!10,!2019:!!h ps://doi.o g/10.1525/bio.2011.61.5.4!
87
Place doesn’ s ay s ill, bu bends and wis s: place is a wis you can’ i on ou o he
ab ic o hings.” (Mo on, 2016, p. 11)
A ec i e a is ic wo ks ha place hese eco dings in a con ex , ha make
mo ing a is ic wo ks ou o hem, ha c ea e an expe ience ha si s and s ays wi h
he one expe iencing, his migh c ea e some hing ha pushes om expe ience o
hough o ac ion. Recen ly he e was e en a New Yo k Times a icle abou compose
E ik Ian Walke ’s wo k in collabo a ion wi h The Clima e Music P ojec , “Clima e”,
99
which uses scien i ic da a poin s soni ied. Soni ica ion uses non-speech audio o
exp ess in o ma ion. I u ilizes and assigns cha ac e is ics and quali ies o da a, such
as empo al, spa ial, equency esolu ion, and ampli ude. Wi h audi o y pe cep ion, i
can be possible o as well use ha in o ma ion o c ea e an a ec i e and e en
emo ional composi ion wi h he ela ionships be ween wha he da a is add essing,
allowing a deepe access and in o ma ion exchange wi h he audience. And o cou se,
some imes ha jus ails. I will expand on soni ica ion a a la e sec ion in his
chap e .
In Spec e s o Ma x, Jacques De ida e e s o he ghos o he King o
Hamle as a hing o mou ning, o ying o make emains p esen , in hei place
(a chi es). This hing, “wo ks, whe he i ans o ms o ans o ms i sel , poses o
decomposes i sel : he spi i , he “spi i o he spi i ” is wo k.” (composi ion)
(De ida, 1994, pp. 9) I wo ks as simul aneously a epe i ion and a i s ime
( eco ding). “S aging o he end o his o y (p esen a ion and ep esen a ion). Le us
call i a haun ology” (1994, p. 10)
II.4. Musique Conc è e and he Acous ma ic, a sonic haun ology:
In his in oduc ion o The Audible Pas , Jona han S e ne explains his wo k
owa ds a his o y o sound h ough acing i s echnologies, and hei his o ical
signi icance, and h ough hem we ind an “a chi e on he na u e and meaning o
sound, hea ing, and lis ening.” (S e ne, 2003, p. 7) A chi ing was undamen al o
99
!Knu al,! Sheikh.! 2019.! “This! Is! Wha ! Clima e! Change! Sounds! Like.”! The- New- Yo k- Times.!
Re ie ed!on!Ma ch!10,!2020:!h ps://www.ny imes.com/2019/11/09/science/clima e-change-
music-sound.h ml!!
88
imagining he p ojec o de eloping sound eco ding in he la e 19 h cen u y.
Howe e , he desc ibes he eco ding o oices as a p ocess like embalming, and e en
canning, whe e he “ou side” o he sound is p ese ed, bu i s in e io i y–i s cul u al
esonances, i s in ima e meaning, i s bodily connec ions–a e los . And his causes a
disconnec , a discom o , a disembodimen . (2003, p. 12, 26) He seems o ask i i is
possible o hea he hea ing o o he s. Bu ha sonic shell (and I do no hink i is
me ely ha ), shi ed in o i s new con ex , can embody a new in e io i y. Remembe
when inspi ed by phenomenology, Musique conc è e compose Pie e Schae e i s
in oduced he e m “acousma ic” in he mid-1960s o desc ibe he expe ience o
hea ing a sound wi hou seeing i s cause. In Sound Unseen: Acousma ic Sound in
Theo y and P ac ice, (2014) B ain Kane w i es o he powe and use o he
disembodied sound; sound sepa a ed om i s objec o emission in ime, space, and
place. (2014, pp. 75-79) He also poin s ou ha he acousma ic expe ience while
allowing no isible access, s ill allows o s i ing o iden i y sou ces and ecogni ion,
which he mind will a emp . (pp. 24-25) Sound is “ educed” o he ield o hea ing,
wi h he aid o mechanical ep oduc ion and ansmission. (Schae e , 1966, p. 93)
Sound becomes a sound objec when i loses ha abili y o signi y sou ce, and
main ains i s acousma ic s a us wi h educed lis ening, whe e we may hold he abili y
o ecognize sou ce, bu we’ e aking he sound in as some hing sepa a e om ha .
(1966, p. 268)
< Figu e 5 >
This is he i s majo s udy o Schae e ’s acousma ic heo y since sound
and cinema w i e Michel Chion’s, Guide o Sound Objec s, (2009) and Kane’s
impo an challenge o he phenomenological s ance. Kane inds he acousma ic ails
when solely conside ing elec onic music and p e e s o de ine i as a echnique ha is
no dependen on a pa icula audio echnology o medium bu spli s he senses and
makes “ he unde e mina ion o a sonic sou ce by i s e ec palpable”. (Kane, 2009, p.
263). The acousma ic sound, in heo y and p ac ice, is in eg al o c ea i e sound
design, and I as well use he e m o desc ibe he sepa a ion in ime and place o he
sound and i s objec , whe he he emi ing objec o eco de . Whe he a eco ding o
c icke s slowed o sounding like a choi , a doo slam epea ed un il pu e abs ac ed
hy hm, o he sound o a ain o es o e a dese , he e ec o ha spli can c ea e
subs an ial a ec in lis ene s.
89
In he In oduc ion o he long-awai ed English ansla ion o Chion’s Sound,
An Acoulogical T ea ise, (2016) he ansla o James A. S ein age desc ibes he
whole p ojec as a “haun ology,” in e e ence o De ida’s e m, as a “science o
sound objec s ha ne e ully cohe e as such and o conside a ions ha ake o om
musique conc è e.” (2016, p. xx) I ind his in ag eemen wi h his hesis posi ion ha
eco ded sound, as i s own objec , s ill ca ies aces o i s o iginal e en , momen ,
and passage. In e es ingly, haun ology became a e m in music o desc ibe he use o
sampling, which is o cou se ela ed o music conc è e and he acousma ic.
100
“Sound, once hea d, epea s o e e in ha which one da es no call memo y
(…) e e y sound can esound o all e e ni y in he p esen pe ec o lis ening”.
(Chion, pp. 29-30) The “p esen pe ec ” o lis ening is o cou se changeable, as ou
sonic pe cep ion is pe sonal and ela ional, so goes ou sonic memo y. Tha memo y,
in i s beau i ul impe ec ion, changes he epea ed sound wi h each ecollec ion. Like
a eco ded sound epea ed on loop, he mind wi h ime pe cei es i di e en ly. Like a
eco ded sound on eco ded ape looped, he ma e ial o he medium i sel wea s wi h
play, and he sound changes. No hing is pe manen , ( e)p esen a ion, ( e)collec ion,
( e)enac men a e signaling hei hing om he pas , bu also a e ha p esen . A
“pe o ma i e in e p e a ion, ha is, o an in e p e a ion ha ans o ms he e y hing
i in e p e s”. (De ida, 1994, p. 63) Haun ology is such an excellen wo d in e e ence
o sound and i s ela ionship wi h ime, eco ding, and a chi es. The use he e doesn’
seem oo a om De ida’s ounda ional use, om Toop’s desc ip i e use in Sinis e
Resonance, om Chion’s acousma ic use in Sound. And De ida’s own wo ds
himsel , “…wha we call, o sa e ime and space a he han jus o make up a wo d,
haun ology.” (1994, p. 63)
Resea che s and a is s Jenni e Heuson and Ke in Allen p opose he e is
knowledge o be gained by he un-linking o he ea and eye, ha spli o he senses.
They p opose “asynch onici y” as a challenging me hod o bo h an h opologis s and
expe imen al ilmmake s o employ, a ela ed bu sligh ly di e en e m om
acousma ic, in ha he sound doesn’ necessa ily become i s own sound objec
wi hou a pe cei able ela ionship o i s sou ce o o iginal con ex , bu sepa a ed om
ha isually i will hold some o he a ibu es as an acousma ic sound. (Allen &
100
!Music! heo is ! Simon! Reynolds! adap ed! he! e m! in! he! mid-2000’s.! Reynolds,! Simon.!
Re omania:-Pop-Cul u e’s-Addic ion- o-I s-Own-Pas .!New!Yo k:!Fabe !and!Fabe ,!2011.!
96
academic essay. I s essed ha he call was e y open in o m, and began o ecei e
less adi ional o ms o ex and media. I decided o c ea e a se ies-wi hin- he-se ies
o compila ions wi h his wo k, and he nex publica ions we e pa o he Wayback
Sound Machine, A sonic cons ella ion compila ion, in h ee pa s.
Opening Pa One,
105
esea che and sound a is Suzanne Tho pe, who was
inishing he own PhD in sound s udies and had s udied unde Pauline Oli e os, sen
an eloquen sco e called “Sounding Time”:
Sounding Time
Lis en o a sound you hea d in he pas
Lis en o a sound you will hea in he u u e
Voice you pas and u u e sounds now, al e na ing
Repea oicing o 85 seconds
106
Po uguese compose Diana Combo’s wo k, Desaco do,
107
depa s om
e hnog aphic eco dings o u al Po ugal om he 1970’s, made by Michel
Giacome i o his TV se ies. Combo akes his a chi e and e-mixes, e-composes,
and adds he own oice, dis up ing ime and geog aphy, and adding a powe – he
Po uguese no longe jus he subjec . “In Desaco do he dead a e esu ec ed, and he
li ing migh e u n o a ime los , om he sensa ion o being able o ha e been he e,
wi h hose ha we e once ali e and ha Fado made o ge .” (Combo, 2018) I was so
aken wi h his p ojec , I asked Combo i she could con ibu e o all h ee pa s o he
se ies, which also closes ou wi h he wo k.
Cellis Helena Esp all sha es a ilm, Meglio’s, (Esp all, 2018) o he playing
haun ingly o he Supe 8 images o he e lec i e window o a long-closed woman’s
depa men s o e, Meglio’s, in Philadelphia. The windows e lec he s ee , a ic,
105
!Colbe ,!M.!ed.!2018.!“Wayback!Sound!Machine,!a!sonic!cons ella ion!compila ion.”!Sonic-Field.!!
h ps://sonic ield.o g/2018/12/wayback-sound-machine-a-sonic-cons ella ion-compila ion-
pa -1/!!
106
!Tho pe,!Suzanne.!2018.!“Sounding!Time.”!In,!“Wayback!Sound!Machine,!a!sonic!cons ella ion!
compila ion.”!Sonic!Field.!Colbe ,!M.!ed."O iginally!composed! o !Pauline!Oli e os’!85!bi hday!
celeb a ion!and!memo ial.!The!e en !was!cu a ed!and!hos ed!by! he!In e na ional!Ins i u e! o !
C i ical!S udies!in!Imp o isa ion,!June!1,!2017,!and!wo ks!exhibi ed!a ! he!Ins i u e! o !Public!Li e!
and!Ideas,!McGill.!
107
!Colbe ,!M.!ed.!2018.!“Wayback!Sound!Machine,!a!sonic!cons ella ion!compila ion,!Pa !1.”!
Sonic-Field.!!h ps://sonic ield.o g/2018/12/wayback-sound-machine-a-sonic-cons ella ion-
compila ion-pa -1/!

97
ca s, and people, o he ime o eco ding. The mannequins, in hei ashion o he
ime, look on, unseeing. Imp o ing musician and poe , Bonnie Jones, who wo ks
wi h elec onic sound and ex , cons uc ed, “And i I li e a housand li es I hope o
emembe one”, (Jones, 2018) om a li e manipula ed casse e playe and six-minu e
looping playe . The six minu es looped om he sou ce casse e playe a e eco dings
om yea s o pe o mances… eco ded, e eco ded… he sound o audio eedback
om he p oximi y o he wo e en ually akes o e he p ocess and e en , as well as
he pe sonal a chi e eco ded.
108
Mul imedia a is Hilda Daniel’s beau i ul and in ense wo k, “Echolullia”,
(Daniel, 2018) is a cho us o b oken lullabies ep esen ing wha is los in collec i e
auma. The i le is de i ed om “echolalia”, a e m o he sound babies make in
mimic o hose hey ha e hea d, o he in olun a y epe i ion o someone else’s
wo ds. The lullabies a e sung by in i ed Mo he s, who chose songs hey had once
sang o hei own child en.
109
(Daniel, 2018) Da ia Baiocchi composed a wo k
dedica ed o Coun ess Cons ance Geo gine Ma kie icz, who s ongly opposed he
1916 aboli ion o Dublin Mean Time, and in oduc ion o GMT. The lu e in he wo k
was composed o “gi e oice” o he coun ess, while hy hmic sounds ecall a icking
clock.
110
(Baiocchi, 2018)
Sound p oduce and heo is Joan Schuman, and Se h Guy who s udies
language, memo y, and imagina ion a he in e sec ion o audio- isual pe cep ion,
collabo a ed on he wo k, “In e mix”. (Guy & Schuman, 2017) Guy would eco d on
ideo him sounding his body wi h a ious objec s, his is hen sen o he collabo a o
who would desc ibe ocally wha hey a e expe iencing on he ideo, and eco d ha .
E en ually he o iginal ideos a e no shown a p esen a ion, in i ing he audience o
imagine wha i is he collabo a o wi nessed, h ough hei desc ip ions.
111
Sound
a is and esea che , And ea Williams, who also s udied unde Pauline Oli e os, sen
Ri e on Pa k Soundwalk, (Williams, 2016) which is a si e-speci ic a is audio ou
o he Hudson Ri e in T oy, New Yo k. I was made wi h he suppo o he
108
!Ibid.!!
109
!Ibid.!
110
!Colbe ,!M.!2018.!“Wayback!Sound!Machine,!a!sonic!cons ella ion!compila ion,!Pa !2.”!Sonic-
Field.!h ps://sonic ield.o g/2019/02/wayback-sound-machine-a-sonic-cons ella ion-
compila ion-pa -2/!!
111
!Ibid.!
98
Rensselae Coun y His o ical Socie y in 2016 and is ongoing; he map can be
accessed ia mobile phone. The pa icipan has he choice o playing a sequence o
audio iles, o ind geo-loca ed sound iles, guiding he pa icipan s on a ou e wi h,
“ ield eco dings c ea ing pas , p esen , and u u e scena ios, mixed wi h laye s o
musical elemen s and in e iews wi h he public and wa e expe s ( eco ded om
2014-2015) ha o e lay he ac ual su oundings as hey walk. In he Ri e on Pa k
Soundwalk, u h and ic ion a e some imes blu ed by local my hology. S o ies old
by esiden s e eal he belie s held by he communi y ha shape hei connec ion o
he wa e ways h ough gene a ions.”
112
(Williams, 2016)
Ca he ine Clo e ’s mul idisciplina y p ac ices speak o communica ion
h ough oice and language, and he in e play be ween seeing and lis ening, and
seeing and eading. He , “Sco e o he a i al o he blackbi d in sou heas e n
Aus alia 1860”, (Clo e , 2019) aces a pa h my own wo k in his p ojec , Passagie a
aus alis, (Colbe , 2013) was as well a emp ing o add ess. As was w i en abou in
he Bi h sec ion o Chap e Two, songbi ds, like people, lea n hei oice om hei
pa en s, and ha oice emains lexible hei whole li e, adap ing hei songs o new
en i onmen s, like human language changes and adap s. “Blackbi ds ha e only been
singing in sou heas e n Aus alia since 1860, so hei oices a e ela i ely ecen
addi ions o he biophony.” (Clo e , 2019) The bi ds needed o adap quickly o ind
hei Acous ic Niche. “– amongs he loude na i e bi ds such as pa o s, wa lebi ds,
Aus alian magpies, bu che bi ds and cu awongs. As a esul , in Melbou ne oday,
he song o blackbi ds is loude , sho e and sligh ly less elabo a e han he song o
blackbi ds in London o Be lin, whe e he bi ds a e na i e.”
113
(Clo e , 2019)
F om Aus alia o he Uni ed S a es, Po ugal o Singapo e, and many places
in-be ween, hese a is s and au ho s exp essed hei own unde s anding o he
ques ions o sounding ime. The exquisi e closing essay om Samuel He z, “THE
BIG BANG and wha we le behind (o , hea ing loss)”,
114
(He z, 2019) manages
112
!Colbe ,!Maile.!2019.!“Wayback!Sound!Machine,!a!sonic!cons ella ion!compila ion,!Pa !3.”!
Sonic-Field.!h ps://sonic ield.o g/2019/04/wayback-sound-machine-a-sonic-cons ella ion-
compila ion-pa -3/!!
113
!Ibid.!!
114
!He z,!Samuel.!2019.!“THE!BIG!BANG!and!wha !we!le !behind!(o ,!hea ing!loss).”!Wayback-
Sound-Machine,-a-cons ella ion-o -sounding- ime.!Colbe ,!Maile!ed.!
h ps://sonic ield.o g/2019/07/ he-big-bang-and-wha -we-le -behind-o -hea ing-loss-essay-
by-samuel-he z/!!
99
ema kably o p o oke and con ey he sense o ime and i s icks, and how a is s use
ha . I w o e in my in oduc ion: “How ime passes, and how ime is el passing, how
ime is pe sonal and e e changing i s cos umes and de ini ions. Wi hin ha wha is a
momen . Wi hin ha wha is an e en . Wha is sha ed, and wi h whom and wha else.
Wha is aken away. Wha migh g ow. Wha o all his is pe cei ed.” (Colbe , 2019)
He opens wi h a quo e:
How can sound o wo ds ansc ibe his impe cep ibly slow ans o ma ion
occu ing du ing e e y ins an and ha only an ex emely a en i e and ale
eye can some imes pe cei e, he mo emen o a lea , a s alk, a lowe
p opelled by he li e ha makes i g ow.
115
The quo e is om elec onic music pionee Éliane Radigue, who is asking us
o imagine an “aes he ics o he in ini esimal”, a seeing and hea ing ha ex ends in o
he mic oscopic (He z, 2019) Momen s ha a e ambi alen o impe manence in hei
scale and ansi o y na u e. He z imagines his mic o/mac o lens as going beyond
showing us wha will be, bu also wha once was. Pe haps he ela ionship be ween
he wo. “No icing wi h mo e cla i y—and wi h g ea e magni ude— he o ces and
scales o p eca i y and disappea ance. The ange o disappea ances I conce n mysel
wi h in ol es he g adual occul ing o p esence: he slow leaks, he cen u ies-long
ade- o-black. In his case, sono ous as well as biological disappea ance, he change
o soundscapes ha accompanies d as ic and des uc i e clima e change.” (He z,
2019)
The wo ld ne e eels allen, because we g ow accus omed o he all.
116
II.5.b. Sonic Rup u e and Sonic Rap u e, Towa ds a Sonic Ecosophy in Sound
Design:
II.5.b.i. Designing sound in o ou wo ldly soundscape
115
!Radigue,!Éliane.!2009.!“The!Mys e ious!Powe !o ! he!In ini esimal.”!Leona do-Music-Jou nal!19!
(Decembe !2009).!pp.!47–49.!h ps://doi.o g/10.1162/lmj.2009.19.47.!
116
!He z!quo es! om!B ooke!Ja is.!Ja is,!B.!2018.!“The!Insec !Apocalypse!Is!He e.”!The-New-
Yo k-Times.!h ps://www.ny imes.com/2018/11/27/magazine/insec -apocalypse.h ml!!
100
Ac oss decades and disciplines, he e m soundscape has changed, bo n ou o
and shaped by ecology o e he yea s, desc ibing a s udy o a soundscapes’ e ec s on
i s o ganisms and emphasis o ecological cha ac e is ics o sounds and hei
spa io empo al pa e ns eme ging om landscapes.
117
(Economou e al, 2016) D .
Jo dan Lacey, a he beginning o his book Sonic Rup u e, (2016) acknowledges he
impo ance and e ec i eness o me hodologies and p ac ices in oduced by he R.
Mu ay Scha e and he Wo ld Soundscape P ojec (WSP) owa ds lis ening p ac ices
ha connec us o ou en i onmen s and b idge socie y and soundscape; such as
soundwalks, sound mapping, and soundscape composi ion. A he same ime, he
exp esses us a ion wi h a ield ha is so c i ical o he u ban soundscape,
ca ego izing i s noise as a place o bad heal h and habi . He s a es he WSP’s acous ic
ecology as phenomenological, (Lacey, 2016, p. iii, 3) and hus ocused on he human
expe ience; he calls o an app oach ha conside s A ec Theo y, which he claims is
mo e inclusi e o o he bodies’ expe iences wi hin a soundscape. (p. ix, 3-12) I
app ecia e his app oach e y much, bu would ask in addi ion o keep as well he
phenomenological, and he e o e inwa d and ou wa d expe ience and ecologies a e
conside ed oge he .
118
“By combining a ec heo y and acous ic ecology, I ha e come o conside
noise as a ma e ial ha has he po en ial o augmen he imagina i e capaci ies o he
human body.” (Lacey, 2016, p. xi) U ban noise can indeed be ha m ul,
physiologically and psychologically. Lacey is no dispu ing his, a he poin ing ou
ha all ecologies a e a ec i e, some a e jus mo e di e se (heal hie ) han o he s.
(2016, p. 34) He p oposes an u ban ne wo k o sonic up u es o c ea e a ec i e sonic
ecologies, which would be as di e sely a ec i e as hose ound in na u e.
119
(2016, p.
117
As! esea ched! by:! Ecomonmou,! C.,! Ma sinos,! Y.G.,! Tsaligopoulos,! A.! 2016.! “The!
in e disciplina y!De elopmen !o ! he!Te m!“Soundscape”;!T acing!i s!Ecological!Roo s.”!AEgean-
Jou nal- o - En i onmen al- Sciences- (AEJES),- Vol.2.! pp.! 11-23.! h ps://www.en .aegean.g /wp-
con en /uploads/2017/03/Ma sinos-e -al_AEJES_2016.pd !
118
!In!a!sepa a e!discussion,!(Augus ,!2020)!Lacey!also!no ed! o!me! ha !he! eels,!“phenomenology!
isn’ ! so! much! dismissed! by! A ec ! Theo y,! a he ! p e-pe sonal! a ec ! p ecedes! he! pe sonal!
phenomenological!expe ience;!whe e!a ec !is!conside ed!a!plane!o ! o ces!and!in ensi ies! ha !
p ecede! expe ience.! Phenomenological! possibili ies! a e! b oadened! when! expe ience! occu s!
wi hou !judgmen .”!
119
!He!no es!po en ial!only!becomes!ac ualized! o !humans!when!i !becomes!pe cei able,!“passing!
in o! he! eal!by!a ec ing! he! eal”,!dynamically!and!con inuously!a ec ing! he! eal,! ende ing! he!
eal!in!cons an !mo emen .!Be o e! he!Ea h!was! o med,!i ! was! he!po en ial! o !Ea h.!“The!
Ea h!i sel !is!a ec i e;!;!i !can!be!imagined!as!a!dynamic!globe!humming!wi h!po en ial,!ou !o !
which! all! bio ic! and! abio ic! en i ies! eme ge! in!a! p ocess! o ! c ea i e!e olu ion.! Each! eme gen !
101
50) Noise in ou soundscapes is also some hing ha much o he wo ld’s human
popula ion does no ha e he luxu y o p i ilege o escape. A he same ime, noise in
ou soundscapes is some hing non-human u ban popula ions as well do no ha e he
p i ilege o escape, and a e almos always o human-bo n sounds, such as
homogenous sound make s like a ic and clima e con olle s. (2016, p. 40)
Economically s uggling a eas a e plagued wi h a ic om hose who ha e he
means o ca s and homes ou side o he ci y, o ca s o escape he ci y when hey
wan o. Indus y is o en placed nea hose who canno aise a oice agains i and i s
many pollu an s, including sound. Lacey, as a sound a is , eels ha a can ha e a
posi i e e ec on hese soundscapes and hose people who canno escape hem; he
calls his “an a i ma ion o he powe o c ea i i y o al e i s a ec s”. (Lacey, 2016,
p. ix)
Lacey p oposes sound ins alla ions as u ban public a o c ea e ne wo ks o
sonic up u es in homogenous u ban soundscapes, p oducing di e si y and a space o
new expe ience and new hough . He calls hese ac s o a ec i e poli ics, which could
also be conside ed ac s o coun e -au ali y. (Lacey, 2016, p. 1, 35) The up u e
concep o Lacey was inspi ed by Felix Gua a i’s Th ee Ecologies (2008), which
also ale s o he unheal h o homogenous en i onmen s, and in oduces he e m
“ecosophy”, which consis s o h ee ecological egis e s– he en i onmen al, social
ela ions, and human subjec i i y. Gua a i no es “a he hea o all ecological p axes
he e is an a-signi ying
120
up u e.” (Gua a i, 2008, p. 19; Lacey, 2016, p. 16) Lacey
akes his as p o iding possibili ies o connec ion o he body (bo h social and
indi idual) and he land, h ough sound wo ks ha dispe se ixed, homogenous,
e e yday sounds (such as wha a commu e may be exposed o a he same ime and
place day a e day). This allows o changes o e e yday exis ence o eme ge, which
migh impac posi i ely on social heal h and well-being. (2016, pp. 16-17) “Social
ecosophy will consis in de eloping speci ic p ac ices ha will modi y and ein en
he ways in which we li e (…) econs uc ing he modali ies o ‘g oup-being’, no
only h ough ‘communica ional’ in e en ions bu h ough exis en ial mu a ions
d i en by he mo o o subjec i i y.” (Gua a i, 2008, p. 34) Gua a i hen calls o he
en i y! a ec s! (and! is! a ec ed! by)! he! ecologies! in! which! hey! a e! enmeshed,! including! all! o !
humani y’s!p esen !momen s!(syn he ic,! echnological!and!u ban).”!(Lacey,!2016,!p.!50)!
120
!As!in,! he!absence!o !signi ie s.!(Gua a i,!2008,!p.!19)!

102
implemen a ion o “e ec i e p ac ices o expe imen a ion.” (Gua a i, 2008, pp. 34-
35)
Re e ing o Rup u e, Lacey quo es in his In oduc ion:
Ou ypical ways o being in he wo ld a e challenged, ou sys ems o knowledge
dis up ed. We a e o ced o hough . The encoun e hen ope a es as a up u e in ou
habi ual modes o being and hus in ou habi ual subjec i i ies. I p oduces a cu , a
c ack. Howe e his is no he end o he s o y, o he up u ing encoun e also
con ains a momen o a i ma ion, he a i ma ion o a new wo ld, in ac a way o
seeing and hinking his wo ld di e en ly.
121
(O’Sulli an,!2006,!p.!2;!Lacey,!2016,!p.!1)
App oaching he soundscape in much he same way one migh design sound
o a ilm, along wi h a is ic addi ion, Lacey also p oposes a me hod o Sub ac ion.
Sub ac ion is no jus abou emo ing a dominan unwan ed sound, bu e ealing
sounds ha may be masked by hem, “b inging ou a en ion o he momen .” (Lacey,
2016, p. 155) Me hods such as sub ac ion ha e he bene i o applica ion o u ban
soundscapes al eady being li ed in, bu as Lacey si es, he eali y o a soundscape
designe inding a way o achie e his usually ende s hem e e ing solely o he
addi ion app oach (wi h adding soundwalls and o he shields, acous ic sculp u e, e c.).
(pp. 76-80) U ban planning, o any so o social in as uc u al planning, ha
conside s sonic p oblems om pas choices, especially ound disp opo ionally in
lowe income communi ies, and hi ing soundscape designe s ha conside he au al
a ec s and impac s o hese u u e communi ies, could be an example o a massi ely
a ec i e coun e -au ali y. We cul u ally accep and expec he lowe income
neighbo hood’s soundscape o conc e e e e be a ion, a ic, cons uc ion and
indus y, and eme gency si ens. We e en design ou cinema ic sound o e lec ,
ampli y, and epea he same; an example o Mi zoe ’s anaes he ics, we lea n his is
he sound o U ban.
Lacey’s ne wo k o sonic up u es could ha e he posi i e e ec s o en iching
he soundscape o u ban a eas, and simul aneously calling a en ion o hem. Lacey
121
!O’Sulli an,!Simon.!2006.!A -Encoun e s-Deleuze-and-Gua a i:-Though -Beyond-Rep esen a ion.!
New!Yo k:!Palg a e!Macmillan-!
!
103
si ed he ans o ma i e expe ience o lis ening o hese spaces, expe iencing hese
spaces as an “a ec i e sonic ecology”, (Lacey, 2016, p. 34) and allowing ha
in o ma ion and in luence o guide his wo k. “This was ano he pi o al poin in he
c ea i e p ac ice esea ch p ocess, when mysel -as-musician and he ci y-as-music
begin o in e connec as an ecological in e ela ionship, whe e he ci y plays me and I
play i back.” (Lacey, 2016, p. 85) En iching soundscape while calling a en ion o
hem, o wha is he e and wha is missing, challenging ways o being in he wo ld,
dis up ing ou usual sys ems o knowledge and s uc u es we may all back on, and
pushed o hough ... his is wha he Wayback Sound Machine s i es o wi h i s
up u es o ime and a chi es. Cinema ic soundscapes in cu en mains eam ilm
o mulas become homogenous in loudness, he cha ac e is ics o hei design
inc easingly owa ds a sensa ional and expec ed a ec , o be le in he hea e when
he ilm is o e , pe haps e en in mimic o symp om o wha is happening in ou u ban
and subu ban soundscapes: anaes he ics. The a en ion and ac i a ion o he Wayback
Sound Machine’s ques ions, concep s, and me hods seek o also c ea e a ec i e sonic
ecologies in c ea i e sound design, and sonic up u es in ou sound a chi es.
II.5.b.ii. Allowing ou wo ldly sound in o ou sound design:
122
Gua a i also w i es on he connec ion o he social ecosophy o he men al
ecosophy, which will, “lead us o ein en he ela ion o he subjec o he body, o
phan asm, o he passage o ime, o he ‘mys e ies’ o li e and dea h. He s a es his
will encou age us o inding “an ido es o mass-media”. (Gua a i, 2008, p. 35)
Conside ing he connec ions be ween his ecologies and ecosophies can be a me hod o
conside he connec ions be ween lis ening o ou soundscapes, and ou coun e -
au ali y sound designs and a ec i e sonic ecologies…connec ion as well as
applica ion. In he p e ious sec ion we explo ed he concep o conside ing he sonic
design o a soundscape, in his sec ion I will lip ha , and explo e he soundscape in
ou cinema ic sound design. I will explo e, a imes c i ically, he ela ionship o
We ne He zog’s ilms, and speci ically hei sonic elemen s, o he a ious biomes he
shoo s in, ocusing on six o his ilms, almos all documen a ies. Wi hin his, we will
122
!Exce p s!o ! he! ollowing!sub-chap e !we e!published!p io :!Colbe ,!M.!(2017-2018)!"Cinema!
e!P ocu a:!Uma!Na u eza!no!Som!e!Visão!de!We ne !He zog!/!Cinema!and!Seeking:!A!Na u e!in!
We ne ! He zog’s! Sound! and! Vision."! animalia! ege alia! mine alia:! ecomedia,! ecocinema,!
ecoc i icism,!no.!IX,!2017-2018.!h ps://animalia ege aliamine alia.o g/ecocinema/!!
104
del e u he in o na u e as place, and u he on when compa ing and conside ing
ilmmake Apicha pong Wee ase hakul’s sound design and soundscapes in his ilms,
we will also conside he sound o place and ime. The launching poin o he
discussion abou He zog and his ela ionship o na u e h ough sound is inspi ed om
and ollows he Fa a Mo gana in e iew a icle, Being Exposed o Na u e: A
Con e sa ion wi h We ne He zog.
123
(Do o ina, 2008)
The impo ance owa ds gi ing, allowing, o ampli ying oice o place is a
heme h oughou his hesis, and in ha spi i , I wan o speak o my own place in
ega d o his w i ing–pa o my in e es in c i iquing He zog’s wo k is my in e es
and espec o him as a ilmmake . The poin s I will be c i iquing a e, as I will
discuss, e y a ec i e. Ano he way o pu his is, hey wo k on me in he way I
belie e he ilmmake means hem o. Bu when his happens, I am simul aneously
awa e, and c i ical, because I also know wha migh be missing, wha was no
sounded, and I eel ha is impo an o conside .
This b idges in o he second pa o he chap e sec ion whe e I discuss he
wo k o ilmmake Apicha pong Wee ase hakul
124
in compa ison and con as , as a
ilmmake who does allow place and soundscape o speak, o gi es o ampli ies oice
o place, and he ways in which his is success ully used in his wo k, especially
owa ds aspec s o magical ealism which o en b ings in ime, as his is usually
explo ed in ela ion o a mixing o his own memo ies, s o ies, and my hologies o he
place. These a e wo excep ional and p oli ic ilmmake s wo king wi h sound in e y
di e en me hods, and i seemed bene icial o he hesis o ha e a sec ion o
compa ison and con as . I will desc ibe hese me hods, w i e c i ically abou hem
and apply my ecen esea ch.
Pa One: We’ e in Wisconsin, and he bank obbe y wen w ong. B uno
walks in o an amusemen a cade, emp y o o he humans and illed wi h animals in
hemed cages, ained o do a hing o e and o e again. A coin en e s a slo , a abbi
123
Do o ini,! Daniele! ed.! 2008,! 2016.! “Being! Exposed! o! Na u e,! A! Con e sa ion! wi h! We ne !
He zog.”!Cinema,-Though ,-Li e:-Con e sa ions-wi h-Fa a-Mo gana-(“Fa a-Mo gana”,-Na u e,-No.-6,-
2008)-p.!127.!DOI:!10.1400/250648!
124
!Acco ding! o!Thai!naming!cus oms,!a!pe son!is! espec ully!add essed!by! hei !gi en!name,!
a he ! han!su name,!and!so!I!will! e e ! o! his! ilmmake !by!Apicha pong! om!he e!on!ou .!
105
“plays” piano. A coin en e s a slo , a chicken dances…o e and o e , again and again.
The oom is illed wi h a maddening sound composi ion, made hys e ical by he sonic
ake-o e o ha monica and yodeling. When asked abou his amous ending o his
ilm S oszek, (He zog, 1977) We ne He zog himsel said he el i was a powe ul
me apho , bu he couldn’ say wha o .
125
His ela ionship wi h chickens, an oddly
ongoing heme in many o his ilms, has o en led o one o wo s eams o analysis–
chickens ep esen he wo s aspec s o human na u e, o chickens ep esen he mos
e i ying aspec s o Na u e. Two s eams ha a ely come oge he , and ye pe haps
his is ep esen a i e as o why He zog el his dancing chicken was a pe ec
me apho , bu o wha he couldn’ say–pe haps an allowance o complexi y o b eak
he duali y we o en jump o in ou o ganiza ion o ecologies dealing wi h Us and
Na u e.
Timo hy Mo on u ges ha we b eak om ou oman ic no ions o Na u e
wi h his heo ies o a Da k Ecology, (2016) which he compa es o ilm noi in o m–
whe e he p o agonis may eel neu al in hei assessmen s and in es iga ion, un il
hey ealize hey a e implica e wi hin i . (2016, p. 111) Mo on migh seem somewha
in- une wi h He zog’s assessmen o Na u e, s a ing o en ha a mo e ele an and
ealis ic ecology–and ecological a –doesn’ iew ecology h ough a “ ose-colo ed
glass”, bu expec s, accep s, and e en h i es in he da k mess and mesh. Bu his
philosophy on he subjec would also apply o he pendulum swinging he o he way
and ind c i ique in He zog’s “Us e sus Na u e” s a emen s. In ac , Mo on does
c i ique He zog’s depic ion o T eadwell’s pe spec i e in G izzly Man, (He zog,
2005) s a ing his, “… iew o animal indi e ence and c uel y is as mis aken as
T eadwell’s iew o animal sympa hy”. (Mo on, 2016, p. 75)
Na u e can be and has been de ined as li e, li ing, he physical wo ld, he
na u al wo ld, he ma e ial wo ld, he uni e se, geology and wildli e, he kingdom o
plan s and animals, he wild, wilde ness. The na u al e sus he a i icial; humankind
is pa o na u e, bu o en spoken o as sepa a e. Many con empo a y ecologis s ha e
si ed his o being a la ge con ibu ing ac o o di e en ecological p oblems, and
po en ial as well as ongoing disas e s. Na u a in La in mean “bi h”, and could also
e e o essen ial quali ies, an inna e disposi ion. Tha is ansla ed om he G eek
125
!Ebe ,!Roge .!2002.!S oszek-Re iew.!pa a.!11.!Re ie ed!May!13,!2016:!
h ps://www. oge ebe .com/ e iews/g ea -mo ie-s oszek-1977!!
112
ilm,” (He zog, 2005) He zog says a a momen when T eadwell is no speaking,
keeping he soundscape s ill low behind him, a mu mu om he pas . “I ’s he only
hing I know. I ’s he only hing I wan o know,” (2005) T eadwell s a es wi h a
smile. He goes o u n o he came a, hen is o a momen side acked, clea ly
lis ening… o a momen jus lis ening o his belo ed land. He zog’s closing
monologue is o e u he oo age T eadwell has aken, o he bea s playing by he
seaside. He lea es he soundscape once again in he backg ound, allowing he pas o
speak wi h him in dialogue, allowing i o ha e a weigh on his wo ds o wha is gone
and wha emains: “A hough becomes mo e and mo e clea , his ( oo age) is no so
much a look a wild na u e, as i is an insigh in o ou sel es, in o ou na u e.”
(He zog, 2005) This momen in he ending is a beau i ul con e gence o he wo
oices, and one o espec om He zog’s side.
Con inuing a heme o limi a ion, he in e iewe asks: Does cinema need o
ind an image which o he wise exceeds he limi s o he isible, o is i some hing
else? (Do o ini, 2008, p. 2) Sound wi h cinema can do ha , does do ha , pulling he
imme si e wo ld ou side he bo de s o he ame o su ound us. He zog answe s:
“Those images a e abou a sea ch which is in eg al o cinema; I hink. I hink ha
h ough ilms we can ansmi basic sensa ions. (…) I hink ha in some o he
mo ies, i was abou gi ing he audience he possibili y o eel he in e io spaces, he
mos in isible spaces.” (Do o ini, 2008, p. 3) I do no doub ha his is possible wi h
cinema, and he cinema ic senso ial expe ience, in ac pa o my a gumen he e is
ha cinema ic sound wi h image ansmi s complex sensa ions, laye ed, many
c ea ing a ec unde a conscious le el.
This calls o mind again S e en Feld’s w i ing on he Kaluli “li -up-and-o e -
sounding”, he accep ance o he complexi y o he soundscape and he in o ma ion
and sensa ions ha b ings us– “ he soundscape e okes ‘insides’ sa, ‘unde nea h’
hego, and ‘ e lec ions’ mama. These no ions in ol e pe cep ions, changes o ocus
and ame, mo ions o in e p e i e access o meanings packed in o laye s o
sensa ion…” (Feld, 1990, p. 266) The expe ience o lis ening o he ex e nal,
ansla ed in he in e nal– he ilmmake and sound designe mus map ou his pa h,
scene-by-scene, sensa ion-by-sensa ion.
The in e iewe says: Na u e as a limi . He zog answe s, “Ce ainly, bu once
we accep his, we also ha e o admi ha , on his plane o ou s, we can s ill

113
expe ience eno mi y, he as ness, o seemingly bo de less space.” (Do o ini, 2008,
p. 5) One can sense his u ge and seeking wi h He zog’s ilms, his expansion and
ou wa d mo ion owa ds a sensa ion o he wo ld so la ge i could c ush you wi h he
weigh i s expe ience. He wan s o cap u e his, and whe e he eels ha comes up
sho , he wan s o c ea e his, and whe e ha won’ do, he seeks o he s ha seek he
same. And sound does jus his o cinema, expands ou pas he sc een and isual
bo de s, su ounds and en e s. Sound can place us, when wo en wi h s o y and image,
in he jungle, unde ozen wo lds, in p ehis o ic ca es. Sound anscends ime and
space, and sound can gi e meaning o and c ea e Place.
He zog is a ilmmake ha immedia ely comes o mind when asked o
conside ilm and na u e, and a ilmmake ’s ela ionship o Na u e. Clea ly his
hough is sha ed wi h he Fa a Mo gana in e iewe . Ano he ilmmake ha comes
o my mind ega ding hese hemes is Apicha pong Wee ase hakul, and i is wo hy
and e ealing o conside he wo ilmmake s oge he , and hei di e en sonic
app oaches o landscape and soundscape.
Pa 2: In he in e iew, He zog speaks o he insigni icance o ou s o y, ha
his is a na u al limi . (Do o ini, 2008, p. 2) Bu cinema ca es ou a ime and space
o gi e signi icance o ou s o ies. He zog con inues ha om a dis ance ou wo ld is
a “miniscule g ain o sand”. (Do o ini, 2008, p. 5) Bu he whole o he wo ld can be
seen in a g ain o sand,
131
and o me his ep esen s he cinema ha Apicha pong
Wee ase hakul c ea es, ende ing he hype objec o he wo ld, in o a new wo ld ha
ep esen s as a so o he e o opia. Like in Foucaul ’s example o a mi o o desc ibe
his e m, he e o opia, as a space ha is bo h eal and un eal, o his wo ld bu
o he wo ldly, ela ing wi h he space a ound i as an objec , ye a i ual image.
132
131
!“To!See!a!Wo ld...”! agmen s! om!Augu ies-o -Innocence:!!
To-see-a-Wo ld-in-a-G ain-o -Sand--
And-a-Hea en-in-a-Wild-Flowe ,-
-Hold-In ini y-in- he-palm-o -you -hand---
And-E e ni y-in-an-hou .!
132
!Foucaul ,!Michel.!1984.!“O !O he !Spaces:!U opias!and!He e o opias.”!A chi ec u e!
/Mou emen /!Con inui é!Oc obe ,!1984.! ans.!Jay!Miskowiec.!Re ie ed!June!25,!2018:!
h ps://web.mi .edu/allanmc/www/ oucaul 1.pd !!-
114
(Foucaul , 1984, p. 3) Sound helps ex end and connec he “objec ” o he sc een, o
he space o he audience. In he way He zog’s ilms go ou wa d, seeking sublime
limi s and bo de s o come up agains in place unknown, un amilia , o he wo ldly–
Apicha pong’s ilms ha e an in imacy o he in e nal, o he poin a imes uncanny.
They c ea e a space ha eels known o he di ec o ; known so well, wi h such
expe ience, hei exp ession can also exp ess in e nal s a es o he human wi hin
hem–d eams, an asy, and my h: magical ealism. Place is known so well, so
senso ially, i s ansmission o and h ough he sc een and speake o audience
anscends he in e nal. Whe e He zog is mac o, Apicha pong is so sup emely mic o–
whole wo lds a e seen in a g ain o sand, and we a e imme sed in he soundscapes o
his childhood, bo h memo y and d eams. Apicha pong has said himsel , o en, ha his
audience should a imes expe ience his ilms while asleep. When we sleep, sound
con inues o en e us and be p ocessed, blending wo s a es. We ha e no “ea -lid” o
close o o he wo ld.
And his is he eeling we can ge expe iencing his 2006 ilm, Synd ome and a
Cen u y. (Apicha pong Wee ase hakul, 2006) In he i s hal we a e su ounded by
he soundscape o his childhood, a hospi al in u al Thailand, him ha ing g own up
wi h bo h pa en s’ physicians in such a se ing. Allowing place o speak in cinema
also allows and accep s complexi y, and he ilm ha was o iginally abou his pa en s
abso bed elemen s o loca ion and his ac o s, wea ing wi h his own memo ies. In an
in e iew he said, “When I me he ac o s, when I ound he loca ion, he e we e o he
s o ies combined and added in. I y no o limi i . I allow i o low whiche e way i
goes.”
133
(Pansi i o akul, 2006)
The ilm begins au ally, ca ying us wi h an ambien musical d one ha blends
and seems o ans o m in o he sound o wind h ough he ees we look upon in he
i s isual sho . When we cu om he ees o cha ac e , he e is no change in he
soundscape, and i con inues i s s eng h o he nex cha ac e , gi ing us he sense o
lis ening o wha hey a e lis ening o, connec ing hem h ough sound, so we a e ha
much mo e embedded when hey a e spoken o, c ea ing a s ange sensa ion– he au al
133
!!Pansi i o akul,!Thunska.!2006.!“Con e sa ion!wi h!Apicha pong!Wee ase hakul,”!C i icine.!
Ap il!29,!2006.!!Re ie ed!No embe !3,!2017:!
h p://www.c i icine.com/in e iew_a icle.php?id=24!!
115
POV
134
o he cha ac e s spoken o, bu he isual POV o he pe son asking he
ques ion. Chion calls his, poin o audi ion (POA). (Chion, 1994. p. 90) A he poin
when we a e allowed o pull back and see bo h cha ac e s in e ac wi h each o he ,
and we a e once again he audience, we also see ha while we a e in an in e io , he
windows a e open o he ex e io , and he sound o he ex e io . This is a de ice ha
eoccu s o en h ough Apicha pong’s ilms, he ame o he window om in e nal o
ex e nal, he soundscape c ossing ha bo de , a mix. His a chi ec u al backg ound
may ha e led him o his ela ionship wi h space and place sounded–how sound
c osses o e , en e s and imme ses–whe he he ame o a window, o he ame o a
sc een. T ans o ma ion h ough imme sion i sel goes back o he p ehis o ic–ca e
pain ings, a chi ec u e and biza e acous ic spaces and emples–audio and isual
special e ec s al eady being used o c ea e a me aphysical ans o ma ion and al e ed
s a e. I is a u opian idea, anspo ing he obse e in o he image, nulli ying he
dis ance o he image space and in ensi ying illusion. (G au, 2003, p. 348)
T ans o ma ion elies on a com o and le ing go owa ds imme sion. “The
new is made com o able by being made amilia , since i is seen as ha ing g adually
e ol ed om he o ms o he pas .”
135
(K auss, pp. 30-44). We a e com o ed by
pe cep ion o sameness, o a ce ain ex en . The ‘uncanny alley’ concep in aes he ic
accep abili y is when a simula ion o a human wi h a nea -iden ical esemblance o he
eal a ouses a eeling o unease o e ulsion.
136
When g aphed, he e is a sudden d op
a e a climb o posi i e eeling, empa hy, and accep ance ha is co ela ed o he
an h opomo phism o he simula ed human. I will e u n o he au al uncanny alley
in Chap e Th ee u he on.
134
!A!“poin -o - iew”!(POV)!sho !in!cinema!is!a!sho !o !scene! ha !shows!wha !a!cha ac e !( he!
subjec )!is!looking!a ,! ep esen ed! h ough! he!came a.!Sound!can!ha e!a!POV!as!well,!when!we!
expe ience!wha !a!cha ac e !is!lis ening! o,!which!is!o en!in!conjunc ion!wi h! he! isual.!We!a e!
se !up! o ! he!POV!by!seeing! he!cha ac e !lis ening,!which!is!exampled!in! he!p io !He zog!scenes!
w i en!abou !in! his! hesis.!!
135
!K auss,!Rosalind.!1976.!“Video:!The!Aes he ics!o !Na cissism”!in!Oc obe ,-Vol.!1,!New!Yo k!
136
!Masahi o! Mo i! in oduced! he! e m! in! a! pape ! om! 1970! om! he! Tokyo! Ins i u e! o !
Technology.!I !ini ially!was!published!in!a!small!jou nal!called,!Ene gy,!bu !was!igno ed! o !yea s.!
The!comple e! e sion!o ! he!o iginal!essay!can’ !be! ound,!bu ! his!is!an!English! e sion! ha !was!
e iewed!and!au ho ized!by!Mo i:!
Mo i,!M,!MacDo man,!K.F.,!and!Kageki,!N.!2012.!"The!Uncanny!Valley![F om! he!Field],"!in!IEEE-
Robo ics-&-Au oma ion-Magazine,! ol.!19,!no.!2,!pp.!98-100,!June!2012.!Re ie ed!Ap il!26,!2015:!
doi:!10.1109/MRA.2012.2192811!!
!
116
In he sho ilm Phan oms o Nabua, (2009) Apicha pong and sound designe
Ak i chale m Kalayanami , whom Apicha pong wo ks wi h o en, each a powe ul
conjunc ion o sound and image, using once again he heme o ame, expanding he
mac o and mic o simul aneously. Once again, a igo ous e ec o an au al uncanny
alley, he emi ing objec s o wha we wi ness on-sc een isually–wind, wind in
ees, nigh c ea u es sounding in he dis ance, and e en he su p ise o he ghos ly
ligh ning s ikes–bu wi h quali ies di e en han wha would be expec ed. Low
ideli y, hey sound e- eco ded, pe haps when he ac ual e-scanning o he sc een
was happening. This decep i ely simple choice c ea es an o he -wo ldly s a e, a sense
o dis ance and a he same ime being unde ; disloca ed as he in o ma ion we a e
picking up om lis ening isn’ elling us whe e, bu a he c ea ing a new whe e, a
whe e ha exis s ou side ou physical laws. The a ec enhances he mac o/mic o
sensa ion. In he end, he sc een has bu ned, and we a e le wi h sound, smoke, ligh ,
and a ame. The skele ons o p oduc ion lay ou be o e us–amongs many o he
hemes, his is a ilm abou ilmmaking. I plays like a d eam abou ilmmaking.
Sleep and d eaming a e eoccu ing hemes as well in ilms o Apicha pong. A
desc ip ion o he sensa ion o lis ening o he sound ack o Phan oms o Nabua
(2009) could be he expe ience o lis ening when close o asleep. In Ceme e y o
Splendo , (2015) he ilm opens wi h he au al POV o he sleeping soldie s. The
sc een is black, and we hea disembodied sounds, some impossible o place. The use
o soundscape wi h dialogue h oughou Ceme e y o Splendo (2015) c ea es an
unusual pe spec i e, in conjunc ion wi h slow e eals in he na a i e, sus ains a
con inual d eam-like s a e, bu de ini ely no neu al. As he ilm mo es o wa d, his
allows an enhancemen o a sense o accumula ion, u ning enzy when he sleeping
soldie ’s ligh s spill ou in o he own. A closing sho a he end owa ds he sky, in i
a pa amecium loa ing, he mac o and mic o oge he , he ex e nal and in e nal, ou
wo ld’s limi s we can only d eam and c ea e ou o .
117
He zog w o e, “Mo he Na u e doesn’ call, does no speak o you.”
137
Bu
you can lis en, he e is in o ma ion he e. You can allow and encou age you audience
o lis en.
Now I will do no hing bu lis en…
I hea all sounds unning oge he , combined, used o ollowing,
Sounds o he ci y and sounds ou o he ci y, sounds o he day and nigh …
138
II.5.b.iii. Sounding Ou C isis, Pa 1:
In 2011, he disas ous Tohoku ea hquake and sunami de as a ed Japan.
Wi hin i s ho i ic oo p in , se e al nuclea acciden s a ec ed hund eds o housands
o esiden s wi h adia ion le els up o eigh imes wha a e conside ed no mal. Many
o he adioac i e ho spo s we e also ound ou side he e acua ed adius, including
wi hin Tokyo. All o e social ne wo ks, people pos ed pho os, ideos, and sound clips
o hei Geige coun e s eading he adioac i i y in hei homes and neighbo hoods.
The p ocess a Geige coun e uses is called soni ica ion, a o m o audi o y display
ha uses non-speech audio o con ey in o ma ion. Soni ica ion is an old echnique–
he Geige coun e da es o 1908–bu only in he las decades is i becoming mo e
spoken o and has begun o b idge a eas in a and science. I is de ined as non-
speech audio being used in a co ela i e manne o pe cep ualize da a and con ey
in o ma ion.
139
As I played a sound ile om a iend o he abo e-no mal eadings in
his ki chen in Tokyo, I was unne ed by he ominous, s a icky click, like he chi ping
o some obo ic insec , bu ecognized immedia ely wi h decades o cul u al au al
associa ion. No hing sounds like a Geige coun e , eally, excep a Geige coun e . I
is a sound ha hadn’ exis ed be o e i was c ea ed o signal dange . In ac , he en i e
e en was sonically e i ying. Some o he mos chilling eco dings I hea d om he
137
!He zog,!We ne .!Minneso a-Decla a ion:-Lessons-o -Da kness,!sen ence!numbe !10.!Walke !A s!
Cen e !Magazine.!Re ie ed!Feb ua y!3,!2015:!
h p://www.walke a .o g/magazine/1999/minneso a-decla a ion- u h-and- ac -in-docum!!
138
!Whi man,!Wal .!1819-1892.!“Song!o !Mysel .”!Lea es-o -G ass.!!
139
!K ame ,!G ego y,!ed.!1994.!“Audi o y!Display:!Soni ica ion,!Audi ica ion,!and!Audi o y!
In e aces.!San a!Fe!Ins i u e!S udies!in! he!Sciences!o !Complexi y.!P oceedings!Volume!XVIII.!
Reading,!MA:!Addison-Wesley.!Accessed:!No embe !12,!2019.!
h ps://a chi e.o g/de ails/audi o ydisplays00g eg/mode/2up?q=K ame !!

118
unde wa e ea hquake and he bi h o he sunami we e picked up by he
hyd ophones o he Na ional Oceanic A mosphe ic Adminis a ion’s VENTS
P og am. The Tohoku ea hquake was he la ges sound hey had e e picked up,
hough he hyd ophone was loca ed 1,448 kilome e s away.
140
Using he seismic da a om his same quake, audio p og amme and a is
Micah F ank used his c ea ion “Tec onic”, (2016) a eal- ime seismic analysis and
sound syn hesis sys em based on pa sed da a collec ed om he Uni ed S a es
Geological Su ey (USGS) XML eed, mapped wi h Google Ea h, and p ocessed
wi h Max/MSP, a isual p og amming language o mul imedia, including sound,
and Symbolic Sound’s sound design en i onmen , Kyma, o soni y he sounds o he
ea h shi ing and opening ha a e ul day. Wi h “Tec onic”, sound is c ea ed in eal-
ime by seismic ac i i ies as hey occu ac oss he globe. Using magni ude, ele a ion,
ime o day, and geog aphical coo dina es, he da a is mapped o syn he ic spec ums
and p ocessed by g anula , agg ega e and sub ac i e syn hesis. The esul is:
beau i ul. The a ec sepa a e om i s con ex is elaxing, pleasing, gen le sounding,
qui e p e y, un il he ja ing momen o wha I can only image (as o he in o ma ion
he e is no p o ided) is he emo i sel , which sounds like a building ala m.
141
So is
his mo e a is ic and emo i e app oach e ec i e in con eying he disas e , i ha is
e en he poin ? Mos commen s on his publicly pos ed sound ile ange om “cool
sounds” o “I’ll send you he emix when i ’s done.” When compa ed o he
hyd ophonic eco dings om he VENTS p og am, pe haps he use o da a o soni y
is oo abs ac ed om he e en i sel . O pe haps, like any hing, i depends on he
many elemen s ha go in o a wo k, such as he a is hemsel es, wha hey a e
capable o , mind ul o , and paying a en ion o.
Digi al media a is And ea Polli akes a di e en app oach o soni ica ion.
Du ing he 2007/2008 season Polli was on si e in An a c ica conduc ing wo k h ough
he Na ional Science Founda ion esidency, wo king wi h scien is s ga he ing wea he
and clima e da a. He e she c ea ed he p ojec 90 Deg ees Sou h, (2007-2008) which
140
!NOAA!has!pos ed!a! ideo!o ! he! eco ding!sped!up!16x! o !human!pe cep ion!on! hei !
YouTube!channel,!he e:!
h ps://www.you ube.com/wa ch? =4 WD ZIucAQ& ea u e=plcp&con ex =C4c76cbcVD jVQa1
PpcFMIdkGAZy08KSnJR0QS kCc74iRDe7AG Q%3D!!
141
!While! his!wo k!is!no!longe !on!his!websi e!o !Vimeo!page,!you!can!lis en! o! he!audio!on!
F ank’s!Soundcloud,!he e:!h ps://soundcloud.com/micah ank/ea hquakes-o - he-eas -coas !!
119
“aims o communica e bo h he aes he ic beau y and he scien i ic impo ance o
An a c ica o global clima e.”
142
(Polli, 2007) This p ojec ga e bi h o he audio
album, “Sonic An a c ica”, (2009) which uses ield eco dings, soni ica ions, and
audi ica ions (a echnique in ol ing di ec ansla ion o a da a o an audio wa e o m)
o he collec ed da a.
143
I asked And ea Polli in my chap e a icle, “The Sound o
Disas e , Ou Rela ionship o Sound in Dange ”: (Colbe , 2014b) “How can
soni ica ion help us unde s and clima e change?”
144
One hing ha comes o mind is ha sound and music can p o oke an emo ional (o
a leas a ec i e) esponse ha is no always possible h ough g aphs and
images. Fo example, I ha e used low, almos sub-au al sounds in da a soni ica ions
o p omo e a isce al esponse in he lis ene o a ious a mosphe ic e en s. . .
I ha e wo ked wi h wea he and ai quali y da a in eal ime, bo h using on-si e da a
o emo e da a. To become a uned o he emo e da a akes some ime and quie
lis ening, o me i is like being in wo places a once, o example in a galle y o on-
line and a a emo e si e nea he No h Pole. (Polli, as ci ed in Colbe , 2014b)
Reco ding on-si e and wo king wi h he eco dings o si es, UK a is Pe e
Cusack’s Sounds om Dange ous Places (2012) sough eco dings om disas e hi
a eas like he Che nobyl exclusion zone in he Uk aine, he Caspian oil ields in
Aze baijan, he Che nobyl- allou a ec ed a mlands o No he n Wales, and he
i e s o Eas e n Tu key wi h hei ex ensi e, local clima e al e ing dams. Wha is
su p ising and mo ing abou hese wo ks is he s ong human elemen , especially he
lack o human p esence and he e ol ing ela ionship o humans o hese pos -disas e
soundscapes.
Lis ening o some o Cusack’s eco dings om Che nobyl, one migh eel
su p ised o hea ha iconic name a ached o such ich and pas o al
soundscapes. When we conside he massi e indus ial acciden ha killed housands
142
!Documen a ion!o ! he!P ojec !and!ou comes!can!be! ound!on!An ea!Polli’s-90-Deg ees-Sou h!
(2007-2008)!p ojec !si e!he e:!h p://www.90deg eessou h.o g/!!
143
Polli,!And ea.!2009.!Sonic-An a c ica.!Ge many:!G uen eko de .!
h ps://www.g uen eko de .de/?page_id=342!!
!
120
and c ea ed an exclusion zone o 30 kilome e s (19 miles), some o us a e compelled
o imagine a was eland wi h no a li ing c ea u e in sigh . Bu hose like Cusack who
ha e isi ed he a ea a e me wi h qui e a di e en expe ience, one we can sha e when
lis ening o he eco dings. Cusack says Che nobyl held he iches dawn bi d
cho uses he has e e eco ded, haun ing ull cho uses o ogs and nigh ingales sound
h oughou he nigh . And again, we hea ha iconic sound o he Geige coun e
inc easing i s me allic chi p as Cusack walks owa d an in amous adioac i e ho spo ,
a one poin i makes an ee ie due wi h a calling cuckoo.
I asked Pe e Cusack: “How has he sound o dange ous places su p ised
you?” (Colbe , 2014b)
Dange ous places can be bo h sonically and isually compelling, e en beau i ul and
a mosphe ic. The e is, o en, an ex eme dicho omy be ween an aes he ic esponse
and knowledge o he ‘dange ,’ whe he i is pollu ion, social injus ice, mili a y o
geopoli ical. (…)
Many aspec s o dange ous places a e a su p ise, mos ly because one’s expec a ions
a e o en wide o he ma k, especially in he smalle de ails. Howe e di e en places
su p ise one e y di e en ly. Fo example, he name ‘Che nobyl exclusion zone’
implies no one is he e. No so. Thousands s ill wo k a he si e, some li e he e and
some commu e in e e y day (by ail, so ains a e pa o he soundscape). Tha many
people also equi e es au an s, ba s, adminis a ion and all he in as uc u e o a
small own. So, people and wo k sounds o all kinds a e s ill o be hea d a ound
Che nobyl own and he nuclea si es. Some o he illage s, o iginally e acua ed ou ,
ha e e u ned b inging hei sounds oo – ho ses, chickens, ca s, hand a ming,
adi ional songs, mode n day TV. The zone is also now a wildli e ha en, and he
sounds o he dawn and e ening cho us o sp ing a e in ense. The ib an eco dings
o wildli e show ha many species, a leas , a e doing ine in he exclusion zone.
(Cusack, as si ed in Colbe , 2014b)
121
The con as o a pleasingly ull biophony o a loca ion associa ed wi h
dange can be a powe ul con as . In Gus Van San ’s “Dea h” ilogy, wi h he ilms
Ge y (2002), Elephan , (2003) and Las Days (2005), Van San and sound designe
Leslie Sha z used he e e se o wha we ha e come o expec om cinema sound o
p epa e us o disas e , de- amilia izing he wo ld hey c ea e on sc een. Van San
u ilizes eco dings o soundscapes om Hildega d Wes e kamp, whose wo k and
esea ch was w i en abou in Chap e 1, in unexpec ed ways, playing wi h ou
an icipa ion. Again, aking in sound cues as in o ma ion, we may classically expec
ascending iolins o a low building umble o p epa e us o he un olding o
some hing dange ous in cinema. A s udy e en linked he mos common ypes o
“nonlinea ocaliza ions,” o sudden acous ic complexi ies and changes, used in
ho o mo ies sound acks o aping he c ies ha many species use a imes o
dis ess.
145
Van San and Sha z decided in Elephan o use exce p s om Wes e kamp’s
s unning composi ion, “Benea h he Fo es Floo ”. (1992) As we ollow a cha ac e
down a school hallway in he a e ma h o he ini ial shoo ing, ou ea s desc ibe o us
a place in a s ange ha mony, one ou o con ex and in con as wi h he wo ld ou
eyes ell us we a e expe iencing. Wes e kamp c ea ed he composi ion om he
eco dings o he B i ish Columbian ain o es s, old-g ow h o es s wi h ees o e a
housand yea s old, h ea ened by e e c eeping clea cu ing. The sounds om such
g ow h seem o ca y hei ime, which can eel so s ill compa ed o ou quick li e
spans. In he ilm scene, he ou o con ex and he con usion ha plays on ou
pe cep ion, heigh ened wi h all sounds seemingly he same size and dis ance om us,
gi e us a sense o he au al uncanny, and we eel p epa ed o some hing o , no
ma e how peace ul he sounds sound hemsel es.
146
This echoes he eeling o
displacemen and de achmen o he cha ac e s om he wo ld hey embody.
When a cha ac e on a sc een isn’ speaking, hey a e lis ening, and so ou
pe cep ion is h ough hei ea s o wha hey a e lis ening o; and i done well, we
belie e hei wo ld, e en a i s mos o he wo ldly momen s. This associa ion is
145
!Blums ein,!D.!T.,!Da i ian,!R.,!&!Kaye,!P.!D.!(2010).!Do! ilm!sound acks!con ain!nonlinea !
analogues! o!in luence!emo ion?.!Biology-le e s,!6(6),!751–754.!
h ps://doi.o g/10.1098/ sbl.2010.0333!!
146
!Ex.! om!3:33!h p://www.you ube.com/wa ch? =AIy d6G2790& ea u e= ela ed!
128
The audience epo ed a eeling and conside a ion owa ds he hea d and
unhea d. The a ec was Big: ea hquake, known sounds, soni ied sounds, and Small:
bi d ex inc ion, hidden sounds, ampli ied “silence”. A poin s he ampli ied silence in
con as , o a e a soni ied e en , became Big. Exp essions o a Fu u e, biblical
apocalypse and ecological apocalypse, luc ua ed be ween each o he and he Big and
Small sonic a ec . The pe o ma i e expe ience shi ed om he momen o pu ing
he blind old on, no only o mysel as pe o me , bu also o he audience wa ching.
I is app op ia e he e o u ilize an au o-e hnog aphical desc ip i e s uc u e: my
expe ience in his was less o a senso y e asu e han a sha pening o o he senses, and
how his a ec ed my ela ionship wi h he audience, as well as my ela ionship wi h
he space on s age, wi h a shi o ocus and a uning be ween my sense o hea ing and
ouch, and he pe cep ion o he space a ound me h ough hem. Pe o mance is
p ima ily pe cei ed as a isual ac . E en when wha is being pe o med is sonic, he
key o wha he audience is conside ing is wha is in he space we call s age, he sound
almos seconda y in he sense o being a ached o wha is seen. Wha cinema ic
sound designe s o en wo k wi h o ans e meaning and emo ion, and o ex end pas
he sc een– he acousma ic sound–Come Kingdom Come wo ks wi h, in andem wi h
audience expec a ion in ela ionship o in o ma ion gi en by sound in mul iple ways.
Du ing he e en I am desc ibing, he blind old became he wi e connec ing e e y
ci cui in o a sha ed phenomenological ci cula low.
Come Kingdom Come (2012-2017) is an expe imen al ope a conce ning
millennialism and apocalyp ic hough and heo y, beginning wi h an a emp a an
explo a o y compa ison o his pas u n o he millennium o i s p io . Wha became
mo e o an in e es in he ollowing yea s o pe o ming i was i s geog aphy in ime
and space sonically o med and placed using a ious a chi al eco dings o he
be o e, du ing, and a e -ma h o na u al disas e s and o he ca as ophic phenomena;
he seismic ac i i y o an ea hquake, hunde ous sunami, VLF o a sun s o m, he
quie o Che nobyl exclusion a ea decades a e i s disas e , endange ed species o
bi d calling in he dese . The audio- isual pe o mance begins in da kness wi h VLF
( e y low equency) eco dings o ou magne osphe e su ounding he sea ed
audience.
150
Images on he ip ych o sc eens eme ge one by one in a slow e eal o a
150
!Examples! om!NASA!can!be!accessed!and!lis ened! o!on! hei !VLF!p ojec !INSPIRE!si e!he e:!
h p://www.spacewea he .com/glossa y/inspi e.h ml!!

129
echnique o exposing he de elopmen p ocess wi hou a di ec subjec , de eloping
bu ne e ully a i ing, seen bu unseen. The sweeping sonic in o ma ion usually
ou side o ou hea ing ange made audible, om abo e ou ea hly ai , su ounding
and wea ing wi h eco ds o a ime s amped and gone, and a place ha became E en .
The pe o mance bookends wi h he b inging in o a li e- eed o he elec omagne ic
cu en o he space, mixing in due wi h he eco ded VLF om he beginning,
wea ing pas in o p esen , and b inging us o a ull bu changed ci cle, ha i mapped
migh esemble an Ou obo os.
And so, his ime i was pe o med blind olded. In he beginning I s and, and
I walk o he audience. Wi h he blind old, I had o walk slowly, s i ly. My audience
old me he expe ience o his was unne ing o hem on di e en le els. They could
isually see my sigh was no in use, and so hey wo ied abou my sa e y. I was
ca ying my VLF ecei e , which is no immedia ely iden i iable o mos people, and
since I buil my own, i looks like a me al box wi h a ew knobs, swi ches, and wi es,
wi h a e y long whip an ennae coming o one end. I would ligh ly un he an ennae
o e hem, a which poin he sound would change o unea hly c ackles and moans
o e he speake sys em. Visually, a gene ic box such as his, in ou imes, is i sel a
igh ening hing, I am always s opped a ai po secu i y o explain i . When in ac ion
a ghos ly sound bea ing no esemblance o he expec ed happens, and he e is a
complica ed physiological and physiological a ec wi h ha asynch onici y. (Heuson
& Allen, 2014, pp. 113-120) I el , and could hea h ough in ake o b ea h, shi ing in
sea s, ne ous mu led laughs-my audience. In u n, ha had an e ec on my
mo emen s, and he e o e my pe o mance. A dynamic en i onmen o connec ion is
o med, he a is as ecologis . (Youngblood, 1970, pp. 346-351) My audience and I,
and be ween us a cha ged and changing ‘a ec i e sonic ecology’, (Lacey, 2016, p.
33) each en i y wi h unique emo i e esponses, in a sha ed ield, a ec ing ha ield
collec i ely, c ea ing wha Voegelin migh call a ‘sonic li e-wo ld.’ (Voegelin, 2010,
p. 12)
< Figu e 11 >
Wha changed when blinded in conside a ion o he whole? Why did ha
small isual change c ea e a la ge a ec on he audience? Wha elemen s o his can
be conside ed and used in u u e p ojec s? This expe ience had me conside ing in-
dep h he ela ionship be ween au al and isual, sound s udies and isual s udies,
130
isuali y and au ali y, in e e ence o he a s and a is s. Visual cul u e can apply as
an al e na i e and c i ique o Eu opean-biased p ac ices in a his o y (Mi zoe , 1998,
p. XXX), and his hesis is wo king owa ds a conside a ion o bo h a and his o y, in
ela ionship o a coun e -au ali y.
“And his edis ibu ion i sel p esupposes a cu ing up o wha is isible and wha is
no , o wha can be hea d and wha canno , o wha is noise and wha is speech.”
(Ranciè e, 2004, p. 225)
III.1.b. Nos algia and place: (Passagei a em Casa and Passagei a aus alis)
Re u ning o he Acous ic Niche Hypo hesis and IBEs, we can ake he
heo ized o igins o a sense o composi ion and ha ela ionship o sensible signals in
ou soundscapes, and apply his owa ds sound design, e ealing in o ma ion abou
lis ening, how we lis en, wha we lis en o , and conside how ha can be designed
owa ds and used c ea i ely. Wi hin he p ac ice-based esea ch componen o his
wo k, aside om he p e iously men ioned pe o mance, I ha e been wo king wi h
h ee main case-s udy p ojec s: Passagei a em Casa (Colbe , 2012-2016) and
Passagei a aus alis (Colbe , 2013),
151
and Radio Te amo o, (Colbe & Cos a,
2013-2015) which was w i en abou p e iously.
152
In he same old wo k no ebook
whe e I ound he no e abou sounding he pas wi h Radio Te amo o, a ew pages
la e I ead: “Passagei a em Casa: Th ee Chap e s. 1) Memó ia/Memo y: Po ugal 2)
Toca /Touch: Aus alia 3) Vol a /Re u n: New Yo k”. The New Yo k e sion is now
se o be a li ing a chi e online, allowing e u n o anywhe e and nowhe e, li ing in a
space ha by i s design de ies and dis up s ime and ch onology. Remembe ha he
In e ne is also a Wayback Machine.
Wha can we ga he om sounding he pas , and wi hin ha , wha is he
ela ionship be ween soundscape and sound design? Passagei a em Casa (The
T a ele a Home) begins o explo e he no ion o he Wayback Sound Machine wi h
a sonic geog aphy, simila in i s use o Come Kingdom Come. Passagei a em Casa is
an in e media and in e disciplina y pe o mance inspi ed by he jou ney o de ine he
concep o home. The na a i e is a pa ially ic ionalized and pa ially pe sonalized
151
!h p://www.mailecolbe .com/p oj-passagei a.h ml!!
152
!h p://www.mailecolbe .com/p oj-wayback.h ml!
131
accoun o a ma i ime his o y o Po ugal, enac ed by a dance , ocal pe o me , li e
ideo, and li e sound composi ion using ield eco dings and geo-speci ic sonic
a chi al ma e ial ha c ea es, ex ends, and wea es a geog aphy h ough he na a i e
and space o he p ojec . F om a bi d song dawn cho us in Lisbon o unde wa e
seismic ac i i y in he oceans o an o ches a o insec ac i i y in he Paci ic Islands,
eco dings along a ma i ime na iga ion ou e low h oughou he pe o mance, gi ing
a soundscape and sound-line o he na a i e’s loca ion, one ha he dance and
audience ollow oge he . Wi h he heo y in mind ha soundscapes ca y
in o ma ion–signal and symbol, ma e iali y and me apho – he heo y ollows ha
eco dings will ca y a leas in pa ha in o ma ion as well and ollowing ha hose
eco dings could be used in sound design o ans e ing in o ma ion and p o oking
a ec in he expe iences ha would ha e a ie o he o iginal scape and con ex o ha
sound. A ec heo y, basically de ined as he s udy o he biological po ion and
pa e ns o emo ion, has been use ul in s udying and o ganizing his,
153
and led o
wo king ou a way o conside u he dimension wi hin he design. I we conside , as
we did wi h Come Kingdom Come, he low– om he p oduc ion o he pe o me o
he audience… om he audience o he pe o me , and he e we designed he p ojec
o ha e ha low e u n o he p oduc ion. Wi hin his we e smalle loops o a ec
be ween he pe o me and audience, which is o be expec ed in pe o mance, bu also
be ween he dance and he p oduc ion.
< Figu e 12 >
The e a e key momen s in he p ojec pe o mance ha also co espond o
key loca ions on he s age, which he audience is designed o si a ound a he han in
on o . These loca ions on he s age a e also geog aphic loca ions in he na a i e, o
be explo ed a speci ic imes. Sound p o ides he p ima y a ec i e loops I’m w i ing
o he e, bu emembe sound also p o ides he ime and geog aphy in he na a i e.
Speci ic sound eco dings om geog aphic loca ions on he na a i e’s imeline guide
he dance o whe e hey need o be, like ollowing cons ella ions a sea, bu wi h
sound being a ime medium, he designed soundscape also p o ides he ime. Time
el is subjec i e, luid and changeable, pe sonal in ha way–like sound pe cei ed. I
wan ed o ind a way o gi e he dance a way o exp ess hei el ime and pe cei ed
sound, o gi e hem a way o di ec ly a ec he elemen s o he wo k, based on he
153
!Tomkins,!S.!(1962)!A ec -Image y-Consciousness.!New!Yo k,!NY:!Sp inge .!(chap.!1)!
132
e ec o wha hey pe cei ed while pe o ming. I also wan ed o ha e a way o
highligh how his o y is c ea ed, made s o y by hose who ha e hea d oices, who
ha e powe .
I esea ched, designed, and spen many s udio hou s es ing wi h he sound
enginee and dance a sys em, a kind o ecology, o Passagei a em Casa’s p emie e
pe o mance. Using a Kinec mo ion senso , he dance could igge speci ic sounds
and soundscapes using cho eog aphed pose and ges u e. F om a known da abase o
hese sounds, i was he choice wi h mo emen wha o play and when. These sec ions
we e accessed du ing he ini ial “ oyage”, when he cos ume u ns in o a ship, which
is also a sc een on which na iga ion maps a e p ojec ed. They we e accessed again o
he disc e ion la e in he pe o mance, when she el “los ”. And again, o e u n
“home”. The audience could see, hea , and eel he connec ion wi h he mediums,
om he hi ing he loo , o he commanding he soundscape. Thei p oximi y and
su ounding allowed he o always sense hem in e u n and conside how o a ec
hem u he .
Wha is he a is ’s ole in he a chi e and wi h sounding he pas , and how
can ha s eng hen a c i ical p ac ice? How can hese ques ions lead o a c i ical
au ali y, and a c i ical sound design? When I w i e ha in Passagei a em Casa, he
designed soundscape “p o ides he ime”, in he nex a ia ion his holds a double
meaning o bo h ime du ing he pe o mance in he p esen , and as well he ime
co esponding o he na a i e o he pas . The mo e ecen Aus alian e sion,
Passagei a aus alis explo es sound in ime, in ela ionship o space and place,
owa ds a coun e -au ali y.
< Figu e 13 & 14 >
De eloped a he iAi esidency a RMIT, Passagei a aus alis holds a ocus
on he deba e behind whe he he Po uguese we e he i s Eu opeans o a i e in
Aus alia, based on he 16 h cen u y Dieppe maps o Ja e la G ande and he
my h/his o y o he Mahogany Ship, he possible Po uguese ca a el w eck ha hasn’
ye been disco e ed, i s s o y based on eyewi ness accoun s om he 19 h cen u y and
133
a missing ship om a Po uguese oyage om 1522.
154
The sound ack e eals wo
sound-lines based on he impac on lo a, auna, and o e all soundscape o bo h
con inen s. The p ojec ’s soundscape unc ions as a Wayback Sound Machine
explo ing sonically hese wo imelines, and how hey a ec each h ough di e en
poin s in ime. A wo-channel composi ion, di e en han s e eo, one speake
ep esen s Eu ope, he o he Aus alia. As he dance , ou sailo , mo es om one end
o he space o he o he , he sound in each channel is changed based on hei
app oxima e loca ion o each con inen . Wi h his expe ience, my hope is he audience
comes away hinking abou he in e connec i i y o he wo ld, and how we impac he
places we ouch.
III.2 Re i al and e-enac men , ano he sonic haun ology and he
au al uncanny:
The au al uncanny alley: an excellen and desc ip i e example o his can be
ound in And ei Ta ko sky’s S alke , (1979) whe e he sound design is he main
elemen in ansmi ing an imme si e science ic ion na a i e o i s audience. We ind
ou sel es owa ds he middle o he ilm wi hin a unnel in he Zone. The cha ac e s
mus go h ough, and while he e is no isible h ea , when a ock is h own o es he
en i onmen al wha e u ns o hem is a soundscape ac i e wi h a ious geog aphic
in o ma ion– he ock hi s and emi s a sound we wi h e e b, he nex bounce and hi
is la and close, he ollowing sound app op ia e o he scene, and ye ollowing ha
is loud and ake. The same mix o au al cues is laid upon he cha ac e s oices and
oo s eps as well. Mos ly we don’ no ice, bu we sense he place is o , he e is
some hing unp edic able, impossible o know abou ha unnel, and his e ec
enhances ou cha ac e s’ na a i e and makes he science ic ion o he place
belie able. We can s ep in o his unnel wi h hem. We can s ill expe ience a sound
en i onmen ha is “w ong” wi h he au al in o ma ion elling us ha i is “w ong”,
bu we can expe ience ha as an aes he ic a ec , as cinema cul u e and his o y wi h
sound design as some hing hidden. The sound designe plays wi h he expec a ion and
154
!T icke ,! P.! 2007.! Beyond- Cap ico n,-How- Po uguese- ad en u e s-disco e ed- and- mapped-
Aus alia-and-New-Zealand-250-yea s-be o e-Cap ain-Cook.!Adelaide:!Eas !S .!Publica ions.!p.195.!
ISBN!978-0-9751145-9-9!

134
p edic ion o expec ed sound and sound quali y in ela ionship o wha we see,
ano he o m o sonic haun ology.
Ak i chale m plays wi h his phenomenon. Re u ning o Apicha pong and he
second hal o Synd ome and a Cen u y, (2006) we a e o y yea s la e and in an
u ban se ing. We can sense we a e in a bigge building– he windows a e closed, and
he hum o luo escen ligh s and machine y ma k a mo e s e ile ime and place, bu
he dialog and au al s. isual POV is he same. Enough ime has passed since he
beginning o he i s hal o he audience, a leas in he i s iewing, o ha e an
uncanny sense o almos -déjà u. E en ually his sense is b oken by he memo y e-
o ganizing i sel , bu ha momen is enough o pu us subconsciously on gua d, wi h
an expec a ion o he unexpec ed, a gen le and a ec i e suspension. This allows an
a ec i e climac ic poin , uncanny wo king o he magical ealism, when a ound one
hou in we en e he basemen o he hospi al and encoun e a basemen soundscape
whose sounds slowly seem “o ”. We hen cu o a scene o a iplegic pe son mo ing
away om us down a hallway, each ime he makes con ac wi h he loo he sound o
(wha we will la e lea n o be) a ennis ball being hi agains a wall– he sound o he
scene d enched in i ony, and an au al uncanny alley o iming, as i some hing wen
w ong on he Foley s age. The e ec is an as ic and s ange, playing wi h he
audiences’ sonic expec a ion, mixing sonic in o ma ion o space o c ea e a new place
and a ec .
In Alain Resnais’ Las Yea a Ma ienbad, (1961) space and ime shi luidly
o c ea e an uncanny and haun ed Place, in pa cons uc ed ac i ely by he audience,
who a e asked o piece oge he he non-linea na a i e, as hey wish. Wha he
cha ac e s a e pe cei ing in hei Now, wha hey a e emembe ing, o pe haps e en
imagining, wea es much like pe cep ion and memo y i sel . O pe haps i is he
haun ing o he place i sel : echoes o igu es, ime, and sound, a imes epea ing, as
i s uck on a loop, a imes e en hin ing a e en s o a u u e, pas . Resnais said abou
Ma ienbad, “Fo me his ilm is an a emp , s ill e y c ude and e y p imi i e, o
app oach he complexi y o hough , o i s p ocesses.”
155
155
!Benayoun,!Robe .!2008.!“Alain!Resnais:!a pen eu !de!l'imaginai e,”!in e iew!in!Cahie s-du-
Cinéma.!Pa is:!Ramsay.!pp.!105–106!
135
When he ilm was p epa ed o a DVD elease, Resnais chose an un- es o ed
ilm sound ack as an op ion o he es o ed e sion. He s a ed ha choices we e made
wi h he sound based on he ools o he ime, and acknowledged hese ca y hei own
sound o he ime, ha some hing ge s los when changed o he ools o he p esen .
You lose he ilmmake ’s oice, pe o mance is dep i ed. Fo him e en he music
ack should no be co ec ed. I a spo ge s dis o ed by he ma e ials o hen, he el
co ec ing (e asing) hese ende s he music sounding dead. In he case o he
haun ing o gan ack o his ilm, ha eels especially appa en . In e es ingly, he is
suppo i e o ca e ul isual es o a ion, bu eels a leas he op ion o he o iginal
sound ack should always be p esen . “I is be e o espec he sound cha ac e is ics
o he ime.”
156
Emp y salons. Co ido s. Salons. Doo s. Doo s. Salons. Emp y chai s, deep
a mchai s, hick ca pe s. Hea y hangings. S ai s, s eps. S eps, one a e he o he .
Glass objec s, objec s s ill in ac , emp y glasses. A glass ha alls, h ee, wo,
one…
157
When momen s o s a emen s a e epea ed, when a loop is pe cei ed, he
uncanny is igge ed, a haun ing un olds. We ques ion he oiceo e : is he wi nessing,
o ecalling, calling up and calling o h as he emembe s, o is he himsel s uck on a
loop. The in e nal u moil is sounded o us, like a sec e be ween he sound ack and
he audience, which he pic u e is le in he da k abou . “…sound once hea d epea s
o e e in ha which one da es no call memo y.” (Chion, 2016, p. 29)
Loops and epe i ion e ealing inne wo kings a e h oughou he wo k o
expe imen al ilmmake and anima o Kelly Sea s. Sea s’ echnique o anima ing
selec ed pa s o o en s ill pho os om he pas c ea es a isual uncanny ha he
haun ing sound acks p epa e hen ampli y, using lea ned au al ilm cul u e opes in
gen es such as ho o and science ic ion o ans o m and ansla e he images. The
sligh mo emen s play wi h ou expec a ion o mo emen , and ou pe cep ion
s uggles o ca ego ize he cha ac e is ics and quali ies–mo ing, o s ill, unny, o
h ea ening. Sea s wo ks wi h news eels, high school yea books, pas beau y pagean
156
!F om! he!companion!bookle !wi h!The!C i e ion!Collec ion!DVD! elease.!
157
!Resnais,! Alain.! Las - Yea - a - Ma ienbad.! F ance,! 1961.! This! ilm! and! quo ed! oiceo e ,! in!
conjunc ion! wi h! his! hesis! esea ch,! inspi ed! a! p ojec ! and! w i ing! o ! The! Leona do! Music!
Jou nal,!which!I!will!include!in! he!Annex,!pp.!xi -x ,!explo ing! h ough!science! ic ion,!sound,!
ime,!and!a chi es.!
136
oo age, i s -aid handbooks, su i al guides, yoga ins uc ion manuals, and o he
a chi al sou ces claiming an au ho i y o in o m and guide. She ewo ks and
es uc u es o collage a diso ien ing and uns eady sense o his o y, shi ing he s o ies
be ween he o icial and uncanny, he o icial and he occul . In Sea s’ own wo ds,
hese ilms ecas “Ame ican a che ypes and ins i u ions o eimagine ou own social
and poli ical legacies.”
158
The D i (2007) opens wi h a aguely oscilla ing one,
guiding us wi h in igue bu wa ning in o a s a y sky. Audible unde nea h, a oom-
one loca es us no d i ing bodily in space, bu inside some hing–we a e in some hing
wi h an engine, mo ing. The oice o e begins, an u gen , g a ely male oice
eminiscen o a ele ision de ec i e ilm o a cap ain’s log, in o ming us, “I was
space e e ”, o e a chi e images ma ke ing a pas li es yle ideal, peppe ed wi h
ound amily pho os, he sound gi ing a da kness o he smiling aces. The oice o e
in o ms us in pas ense he ocus and desi es o he people had shi ed om hings o
he ea h owa ds space.
159
An app op ia ely and a ec i ely canned-sounding con ol oom is shown,
s a ic wi h only i s igu es d i ing in and ou o loca ions in i s space, on a loop. The
added oom ambience lends an ee ie ai and dimension. Wi h he ela i ely minimal
mo emen echniques Sea s uses wi h p ima ily s ill images, he audio is a i al
ex ension and expansion, and o en as well ansla ion, o he unde cu en s o social,
poli ical, and psychological aspec s o he use o hese images. The e is also
ansla ion o place, he images in space a e g ounded and ied o a sound ack ha
wi hou he isuals could be elec onica, ins ead hey ac simul aneously as
sound ack and soundscape o he ship i sel , he images o he spaceship om an e a
also obsessed wi h analog syn hesize s c ea ing o he -wo ldly and u u is ic
a mosphe es, so much o he audience is audio- isually, cul u ally p epa ed. The D i
is a mys e ious d aw, a beckoning om space. The engine sound becomes i s si en
song, when b oadcas ed (a heme h oughou much o Sea s’ wo k– he ou wa ds o
b oadcas , and inwa ds o ecep ion), i in ec s hose who hea i , and gi e in o i s
call.
158
!F om!Kelly!Sea s!o icial!websi e:!h p://www.kellysea s.com!
159
!Quo e! om! he! oice!o e !on!The-D i !(Sea s,!2007).!This! ilm!and!o he s!o !Sea s!can!be!
ound!gene ously!on!he !Vimeo!page:!h ps:// imeo.com/kellysea s!!
137
The Body Besieged (2009) wo ks wi h anima ed s ill images om yoga and
wo kou ins uc ion books o, “ e eal bewi ched and enzied bodies (…) Women
mo e h ough a possessed psychic space ha dis o s and mi o s some o ou daily
ou ines.”
160
Anima ing s ill images gi es an au al eedom o play wi h he uncanny
alley, he e is no he audience p econcei ed expec a ion o sound, so any sound
close o sync is made s ange, whe he in clea mimic y o how he isually depic ed
en i onmen migh sound, o playing wi h he acousma ic and asynch onous. Sea s
uses all hese echniques o e eal and ansmi pas possible s o ies, al e na i e
his o ies ha haun and c i ic ou now o wa n in o ou u u e. The mo ing bodies in
The Body Besieged a e locked in loops, ampli ied by he hy hmic sound ack, hey
seem phan oms o a pas b oadcas we locked in o, he sound semi-mechanical and
punc ua ing hei u ile mo emen s, epea ed poses like clockwo k.
Sea s cu igu es ou o a chi al ilms om he 1950’s o elephone ope a o s
and people on phones, mixing his o ies wi h e en s o ha ime and b inging i in o
he p esen in Voice on he Line (2009) o e lec on issues o na ional secu i y and
ci il libe ies like p i acy, e lec ing on how “ echnology can be used o shape ou
ea s, desi es, and how we eel connec ed.”
161
As he ilm opens up on a sho o a
inge dialing a o a y phone, gen ly menacing adio-wa e sound come o us, again
wi h he haun ing o a b oadcas om he pas , a ansmission o us. This ilm uses
mo ing images, bu hei backg ounds a e eplaced wi h looping wallpape pa e ns
eminiscen o a an -ga de pain -on- ilm echniques, a sec ion o hese cha ac e s’
wo ld seems o be e ealing i s celluloid ma e ial, b eaking h ough. The igu es
mo emen s a e sligh ly o , no qui e ma ching each o he in his sha ed wo ld, as i a
di e en se o physics applies o each o hem, he hings holding hem oge he a e
hose haun ing adio-wa es, asynch onis ic and acousma ic, guiding he uncanny
a ec o menace. When an o ice scene comes up, wi h an almos -possible o ice
ambience o mu mu s and machines, o he sound o bu ons pushed on ano he
phone, he a ec is o wo dimensions o e lapping. The phone ope a o s possess an
i esis ible esonance o hei oices, becoming a Cold Wa e a spy echnique used by
he go e nmen , who hen can’ esis lis ening hemsel es, c ea ing a beguiling
eedback loop o ansmission. “All o he con e sa ions wi h ope a o s we e
160
!F om!Sea s’!desc ip ion!o !he ! ilm!on!he !Vimeo!page:!h ps:// imeo.com/kellysea s!!
161
!Ibid.!
144
“ he e is no such hing as silence. Some hing is always happening ha makes sound,”
(Cage, 1967, p. 117) and desc ibes how in he chambe he hea d bo h his blood
ci cula ing as well as his ne ous sys em ope a ing. The concep o silence implies i s
opposi e, demanding i s p esence wi hin wha we pe cei e as absence. (Son ag, 1969,
p. IV). E en ou memo ies pe sis an implied sound ack i we ake ha ime and
ocus wi h hem; a memo y o a childhood o es hough biologically silen has a e y
speci ic wind hea d h ough i s ees, h ough i s sound ack.
An a en i e and c i ical ea can help us o m a c i ical sound design when
composing he pas . In he Macaulay Lib a y o he Co nell Lab o O ni hology, he e
is a eco ding o he endange ed o likely ex inc bi d, he I o y-billed Woodpecke ,
made by Doc o Au ho Allen in 1935.
169
The e is a pause in he beginning o he
ack, a “silence” whe e we hea he sound o he eco ding medium i sel , ghos ly
and c ackling h ough ime and wea , he medium o a momen speaks, an au al
s amp o ime. Th ough ha umpe s he call o a bi d gone, hen i s bill agains a
ee. Mo e ollow, i is no alone; a he ime o he eco ding he bi d was a e, bu
s ill no alone. In ha ime and echnology, sound and image we e s ill a ely ma ied
by medium, and he e exis s in a chi es bi s and pieces o he his o y o his species-a
pho o he e, an illus a ion he e. I ound a ilm ha was sho he same yea o his
eco ding by D . Allen as well.
170
Subme ged in a sh oud o beau i ully aged black
and whi e g ain, ou ghos bi d pecks a a ee silen ly. Sepa a ely. The lib a y’s
mission s a emen eads:
Ou mission is o collec and p ese e eco dings o each species' beha io and
na u al his o y, o acili a e he abili y o o he s o collec and p ese e such
eco dings, and o ac i ely p omo e he use o hese eco dings o di e se pu poses
spanning scien i ic esea ch, educa ion, conse a ion, and he a s.
171
The a s, lis ed wi h he same impo as scien i ic esea ch, educa ion, and
conse a ion. Filmmake Michael Gi lin, in he p oduc ion o his ilm The Bi dpeople,
169
!The! eco ding!can!be!accessed!and!hea d!he e!online!he e:!
h p://macaulaylib a y.o g/audio/6784/campephilus-p incipalis-i o y-billed-woodpecke -
uni ed-s a es-louisiana-a hu -allen!
170
!Also!on! he!media!lib a y,!accessed!online!he e:!h ps://macaulaylib a y.o g/asse /487450!!!
171
!The!mission!s a emen !can!be! ead!on! he!abou !page:!h p://macaulaylib a y.o g/abou !

145
(2005) knew an audio eco ding would ans e wi hin i s expe ience senso y
in o ma ion o help guide his audience o eel and ca e o his woodpecke o he
pas . The Macaulay Lib a y a chi e no only ga e him ha eco ding, bu encou aged
i s use and con ex , w i ing:
This ilm looks a bi ds and bi de s as cu iosi ies—in e wea ing a is ically
ende ed oo age, sounds, and na a i e: li e bi ds and he people wa ching hem;
li e bi ds and he people engaged in he scien i ic i ual o cap u ing and banding
hem; s u ed bi ds and he people who glean new knowledge om specimens. The
ale o he I o y-billed Woodpecke su aces h oughou in book passages,
oiceo e s o mode n-day scien is s, o bea hi d-pe son commen a y, and a o ay
in o he ield wi h a eam o op bi de s looking o i o y-bills in he Pea l Ri e
a ea o Louisiana in 2002.
172
We wa ch Gi lin’s closing scene, and ega dless o any hough we had p io
on collec ing and collec ions, he I o y-Billed Woodpecke comes o li e o us as a
oice o he pas in con as o he li eless bodies also cap u ed, once again, in on o
us. The silen ilm speaks, blood and b ea h low h ough ha bi d body. This is a
oice om he pas wea ing h ough i s many mausoleums, making a whole, a
possible edemp ion, and a wa ning o he u u e. The I o y-Billed Woodpecke , is o
a momen gi en p esence, gi ing weigh o i s silence, made mo e han a s a is ic. An
a chi e can gi e a sound: a oice o he pas , a call o he p esen , some ad ice o he
u u e… he a is can help guide his.
< Figu es 15 & 16 >
Ou o deep d eamless sleep I was woken, s a led by a hollow esonance, a sudden
impac o wood on wood. Was he sound an isola ed audi o y e en wi hin my
consciousness — a momen o d eam wi hou na a i e o du a ion — o was i a eal
sound om he physical wo ld? The e e be a ion ime was oo long o he sound o
ha e emana ed om he bed oom. This would imply a sound coming om
172
!F om! he!Co nell!Lab!o !O ni hology!websi e!page!on! he! ilm.!Re ie ed!No embe !16,!2015:!!
h p://www.bi ds.co nell.edu/i o y/ ea u epage/IBWO_mo ies!
146
somewhe e else in he house, an echoing space, mys e ious and dis an . I ha was
he case, hen I could only assume he p esence o an in ude , unlikely as a
possibili y. The sound came om nowhe e, belonged nowhe e, so had no place in he
wo ld excep h ough my desc ip ion. (Toop, 2010, p. VII)
Ou expe ience o sound wi h mo ing image is bo h p e- e lec i e as well as
an in en ional e lec i e ac owa ds meaning, u ilizing imagina ion as well as
pe cep ion. When sounding image om he pas , ou expe ience is also one o a is ic
insc ip ions, and an au ho ’s senso y ins uc ion.
< Figu e 17 >
In 1923 ilmmake s Robe and F ances Flahe y b ough hei child en o an
island called Sa ai’i in Samoa o li e a yea ’s ime while hey made hei nex ea u e
ilm, a e Nanook o he No h, (1922) o be called Moana (1926). Like hei ilm
p io , and he ilm o come a e , he e a e a ious s aged and embellished elemen s o
he ilm, leading i o be o en called “docu ic ion”, hough a he ime o i s sc eening
he wo d “documen a y” was o he i s ime applied o cinema in a e iew. In 1975,
Monica Flahe y, who was h ee a he ime o he ilm’s c ea ion, e u ned o Sa ai’i
wi h audio eco ding equipmen and wo ked owa ds c ea ing a sound ack o he
pa en s’ ilm, including eco ding he soundscapes o he e y illage hey li ed and
sho in, and dubbing in dialogue and singing in Samoan. Wi h he consul a ion o
many an h opologis s, linguis s, and o he ilmmake s, as well as he own childhood
memo ies o he place, Moana wi h Sound was inished in 1980. Sadly, he o iginal
ilm’s nega i e was gone, and he 16mm copy o a copy o he 35mm p in was
al eady deg ading. (Close, 2016) I wasn’ un il he 2014 New Yo k Film Fes i al ha
a e sion ha ga e bo h au al and isual jus ice o he wo k would be sc eened, a e
much ime and wo k om many people. The ilm opens wi h a quo e om F ances
Hubba d Flahe y, “Oh, i we could only ake back wi h us he singing. No he songs,
bu he singing”.
The e a e always h ee acks o audio p esen in he ilm’s du a ion. A ack
o he soundscape o he island expands, enci cles, and imme ges us–wind h ough
ees, bi d song, us ling in g ass, and so on. Then a ack o a scene’s main ac i i y
ocuses us in o he na a i e, whe he alking, an animal passing, o o he in- he- ame
147
ac i i y. The hi d ack is ese ed o adi ional song, he e and he e h oughou he
ilm, gi ing us an emo ional guidance and expe ience.
The ypes o noises hea d in his cu o "Moana" a e so na u al and belie able ha a
layman wouldn' belie e hey we e eco ded i e decades a e he o iginal cap u e o
oo age — and by a di e en pe son no less. The sounds hea d as a ew boys jump
in o he wa e , o as some women la en he ba k o a mulbe y ee o ashion a
d ess, ha e been so accu a ely welded o he isuals -- in posi ioning and du a ion --
ha he only logical way o Monica o ob ain hem would ha e been o ec ea e
hose scenes. (…) In gene al, sound adds immediacy o he images and changes he
one o se e al scenes comple ely. The images don' seem like exo ic oo age
cap u ed by a Wes e n ilmmake sen o a a away land; ins ead, i 's like some hing
is happening nea us, and in ol ing people jus like us. (…) A amous sequence om
he ilm depic s a sna e. As he na i es ap a boa , he beas sc eeches wildly and
loudly, c ies ha a e ampli ied and impossible o igno e in his cu . This is no longe
a bemusing peek a a quain i ual; i 's a ho i ic scene ha di ides ou sympa hies.
(Maheshwa i, 2014)
Tha sense o p oximi y, a he han he e hnog aphic ilm highligh ing he
O he ness, up u es he ime and space, c ea ing a place wi h he audience o eel
close o wha hey a e expe iencing. Tha nea ness wi h he subjec s pushes back
agains a sense o O he , wo king in his way as a coun e -au ali y. This is mo e han
jus a push owa ds a empo a y empa hy, his can be a las ing embodied collec i e
expe ience o be e lec ed on ime and ime again. As ci ed abo e, ou sympa hies
di ide, we eel as well o he boa as i is eal and close o us now as well, bo h wi h
us in space and ime, allowing mo e p esen eelings owa ds he subjec s. Wo king
wi h a silen ilm om he pas , Monica Flahe y s o e o gi e i i s soundscape, gi e
i and i s subjec s a oice. Bu he pas is no always silen , and he e a e imes i is
c ucial in he a chi e o make su e we a e lis ening o ha oice ha is al eady he e,
and c ucial when designing ilm sound o make su e i doesn’ ge los again bu has
he place and space o sound.
148
IV. 3. Sounding he pas owa ds a u u e memo y
< Figu e 18 >
In cinema s udies, some imes ilms a e b oken down and di ided in o wo
o ms, Realism and Fo malism. Simply pu , Realism s i es o be like a slice o he
eal-wo ld, like a window, while Fo malism is mo e s ylized in i s ilm-wo ld, like a
can as. O cou se, di iding such a as and a ied a o m in o wo ca ego ies is
p oblema ic and educ i e, and an elemen o cinema ha makes his clea
immedia ely is when cinema ic sound is conside ed. Cinema ic sound almos always,
unless in en ionally designed no o, ende s he sc een a window. And whe he
diege ic o non-diege ic, i wo ks o be a belie ed pa o he ilm-wo ld c ea ed–
accep ed and imme si e, only calling a en ion o i s o m when necessa y. When
designing sound o he pas , we need o emembe ha sound will be pa o he
belie ed wo ld and be esponsible o ha . When wo king wi h sound om he pas ,
we can also be esponsible in allowing ha oice o speak o i sel in i s new con ex
as much as is possible and necessa y.
IV.3.a. Gi ing Voice e sus Gi ing a Place o Lis en: I ene Lusz ig, The
Mo he hood A chi es and You s in Sis e hood
The Mo he hood A chi es (2013) is a ound oo age assemblage o o e 100
his o ic ma e nal educa ion ilms ha explo es hidden his o ies o ins i u ional
mo he hood and childbi h in he 20 h cen u y. While o phaned/a chi al isual
ma e ials a e a he hea o he p ojec , a chi al sound is equally cen al; he ilm’s
me iculously assembled sound ack-combining ield eco dings wi h a chi al and
ound sounds-was de eloped o e yea s, in e wined a e e y s age wi h he isual
assemblage, and is p o oundly impo an o he ways ha he ilm uses old and
abandoned ma e ials o gene a e new meanings, moods, and discou ses.
173
In 2011 ilmmake I ene Lusz ig con ac ed me abou designing sound and
composing o he p ojec . She had spen se e al yea s buying disca ded educa ional
ilms on eBay and wo king in his o ical a chi es o amass an unusual and ascina ing
173
!Colbe ,!Maile.,!&!I ene!Lusz ig.!2014.!“Sound!Designing!Mo he hood:!I ene!Lusz ig!&!Maile!
Colbe ! Open! he! Mo he hood! A chi es”.-Sounding- Ou !!Re ie ed! Feb ua y! 1,! 2016,! om!
h p://sounds udiesblog.com/2014/03/17/sound-designing-mo he hood/!
149
collec ion o a chi al ilms aimed a eaching women how o be p egnan , gi e bi h,
and look a e babies. The Mo he hood A chi es uses his ex ao dina y a chi al
easu e o e o o m a ly ical essay ilm exca a ing hidden his o ies o childbi h in
he wen ie h cen u y, illumina ing ou changing na a i es o ma e nal success and
ailu e, and aising ques ions abou ou social and his o ical cons uc ions o
mo he hood. I was immedia ely in igued by he concep and cons uc ion p ocess as
well as he desi e o wo k wi h sound design in a e y collabo a i e manne a an
ea lie s age in he p ojec han mos ilmmake s no mally would.
< Figu e 19 >
In a co-w i en a icle in con e sa ional s yle, discussing he sound, I ene
e e enced my sound wo k o ilmmake Rebecca Ba on’s ilm, How Li le We Know
o Ou Neighbo s.
174
“The sound in How Li le We Know o Ou Neighbo s in
pa icula does some hing wi h na u al/unna u al ha I was eally in e es ed in – ield
eco dings ha somehow become o he kinds o hings as hey a e laye ed,
ans o med, and p ocessed. I hink o mysel as a documen a y make /a is who is
in es ed in ac uali y, bu no e y in es ed in adi ional documen a y o m, and I
hink you sound has simila in es men s and disin es men s. I begins wi h he
sounds o he eal wo ld bu akes hose sounds o e y unexpec ed places ha a e
o en qui e a om hei o iginal con ex .” (Colbe & Lusz ig, 2016)
We spoke o he science ic ion aspec s o he ilm and i s sound ack, how
science ic ion can exp ess anxie ies abou he u u e, echnologies, and hings we
s uggle o con ol. Ou a chi es could be seen as an a emp o con ol he u u e by
o ganizing and ca aloging he pas , o ming a imeline and his o ic na a i e. The
Mo he hood A chi es p oblema izes his, p o oking ques ions abou i s his o ies o
conside o he his o ies, he ones un-sounded. “So, science ic ion eels like a sonic
space ha o ally makes sense o nego ia ing hese ma e nal anxie ies. I’ e ne e
made a ilm whe e he sound comes up so o en in pos -sc eening discussions, and
gene ally he ques ion is some hing like “why is he sound so da k / sca y / anxie y-
p o oking?” I seems e y speci ic o he subjec o The Mo he hood A chi es”
(Colbe & Lusz ig, 2016)
174
!Ba on,!Rebecca.!2005.!How-Li le-We-Know-o -Ou -Neighbo s!

150
Sounds can be me apho in conjunc ion o hei pai ed isuals. Conside ing he
wo k I had done on wombscapes, unde wa e sounds a e a eoccu ing heme in he
ilm. “Soo hing sound o unning wa e mu les newbo n c ies o p e en he
o ma ion o wha a e called islands o memo y.” (Lusz ig, 2013) An in e es ing
momen happens when he oice o e men ions he use o wa e du ing a sec ion on
he ea ly use o Twiligh Sleep.
175
“Tha desc ip ion o wa e li e ally being used o
e ase memo y allows all he wa e sounds h oughou he ilm o become a me apho
o he e asu e o his o ical memo y.” (Colbe & Lusz ig, 2016) The e is a powe o
wo king wi h “na u al” eco ded sound sou ces. Some hing comes h ough–a shadow
ca ied om i s ini ial sou ce, he animal lis ening o ha in o ma ion. As a sound
designe , each use becomes a e sion, s ill ca ying ini ial sou ce in o ma ion, hen
again wi h u he use. “Fo each sound–some o hem going way back–I s ill
emembe he sou ce, eco ding condi ions, wha was su ounding i (o a he wha i
was su ounding). They become symbols, bu also memo y igge s. Now some o
hem ha e changed and we e sa ed wi h his p ojec , so he e a e gene a ions as well.
And he his o ic a chi al sounds you (Lusz ig) added o i , hey come wi h hei own
his o y and memo y; you ilm and hei use in i is hen added o ha .” (Colbe &
Lusz ig, 2016) A li ing a chi e.
IL: Speaking o a chi al sound, one o he mos amazing ( o me) momen s in ou
collabo a ion was eally close o he end when you sen me he end c edi sound.
We’ e ac ually ne e alked abou his because as soon as you sen i I o ally
in ui i ely and immedia ely knew ha i was pe ec . The sound is a backwa ds
ans o ma ion o he wax cylinde Chopin Wal z eco ding ha is used ea lie in he
ilm du ing he p egnan balle sequence. The e’s some hing so b illian abou you
ins inc o b ing back ha e y poli e, es ained music a he end, bu ha e i
e e sed – bo h because i u ns some hing amilia and hal - emembe ed on i s head,
bu also because I hink i says some hing abou his o y ha is so a uned o he way
he ilm wo ks. The ilm hinks abou his o ies o childbi h, bu he ch onological
175
!Injec ions!o !mo phine!and!scopolamine!we e!used!in! he!ea ly! wen ie h!cen u y! o!c ea e!an!
amnesic!bu !conscious!s a e!du ing!childbi h,!wi h! he!idea! ha !i ! he e!is!no!memo y!o ! he!
pain,! he!pain!doesn’ ! eally!exis .!I s!use!was!abandoned!a e !women!began! o!ha e!memo ies!o !
he! auma!a ound!i s!use!yea s!la e .!
151
s uc u e is ci cula , no linea – which I hink o as a kind o challenge o he
con en ional o wa d-ma ching p og ess na a i e. His o y is always haun ing he
p esen , and his o y is always ci cula . I makes amazing and beau i ul sense ha his
music ha we’ e hea d be o e e u ns a he end in his uncanny backwa ds o m.
(Colbe & Lusz ig, 2016)
A passi e o m o lis ening can be a submission o powe . In sound design,
sound mo es you om wi hin he ame o ou side he ame, and he e is a powe in
ha , a powe used o en in he design o p opaganda ilms o a ec a la ge g oup o
peoples’ a en ion, pe spec i e, and emo ion a he same ime. In an ea ly c i ique on
he sound design o The Mo he hood A chi es, he audience el hey we e pulled
away om he cul u ed mi acle-o -li e eeling a ound p egnancy and mo he hood,
wi h he pe cei ed da k place o he sound d awing hem in o a s e ile, medical
his o y ins ead. This was in ended. The e was a conce n owa ds an exploi a ion o
sense, and a need o a c i ical au ali y, o “cu en senso y p oduc ions always
espond o cu en senso y, social, and poli ical p oblems.” (Heuson, 2015, p. 91) And
his should be conside ed when using mo ing-image a i ac s o he pas . In designing
he sound ack, I wo ked owa ds a con as agains he o iginal con ex s o he ilms,
many o which we e p opaganda. Jus he sepa a ion om hei a chi e didn’ ca y
he needed in o ma ion and c i ique o hei o igin, he o iginal in en s ill wo ked. Fo
hei new con ex , and o p oblema ize hei old, hey needed he a ec , hey needed
he a is .
< Figu e 20 >
Lusz ig’s nex ilm, You s in Sis e hood, (2018) wo ks wi h a chi es in a e y
di e en way. You s in Sis e hood is, “a collec i e po ai o eminis con e sa ion
now and o y yea s ago.”
176
Lusz ig wo ked wi h an a chi e o le e s o he edi o o
Ms. Magazine, he Uni ed S a es’ i s mains eam eminis magazine, p ima ily om
he 1970’s. Be ween 2015-2017, she a elled ac oss he coun y, and ilmed
hund eds o people eading/pe o ming he le e s. The le e s we e w i en by women,
men, e en child en, om all di e en backg ounds, all di e en sexual o ien a ions,
eligions, acial, e hnic, physical abili y, and poli ical iewpoin s. Wo king o so
176
!F om! he! synopsis! o ! he! ilm,! on! he! o icial! ilm! websi e,! which! can! be! ound! he e:!
h p://you sinsis e hood.ne /!!
152
many yea s wi h a chi es, Lusz ig is acu ely awa e o he na a i es ha o m and
who has he powe o o m hem, and is in cons an and deep c i ical awa eness abou
he ole. The le e s ecall indi idual p oblems, collec i e p oblems, e ela ions,
poli ical s uggles, “ hese 70’s le e s a e a powe ul in oca ion o he second-wa e
eminism slogan, ‘ he pe sonal is poli ical.’”
177
< Figu e 21 >
Hund eds o le e s, he as majo i y Lusz ig chose did no ge o iginally
published. P i a e and pe sonal, bu mean o publica ion, wi h in en ion o be sha ed
and oiced, si ing silen ly in an a chi e in he Schlesinge Lib a y on he His o y o
Women in Ame ica, whe e Lusz ig spen he summe o 2014 going h ough box a e
box. Wha s uck he was ha many o he issues ha we e w i en abou in hese
le e s, women and gende noncon o ming people we e s ill s uggling wi h oday.
Guided by he loca ion and con en o a chosen le e , Lusz ig would send a call o
eade s ou o he a ea, and hose ha esponded o en did so as some hing in he
le e s ei he hi home o hi ha d. They would ha e a chance o a pe sonal esponse
exp essing ha a e hei eading.
The p ojec asks: “Wha migh be e ealed in he complica ed and slippe y
space o in i ing s ange s o ac ou and espond o 1970s eminism in 2017? Wha
oles does con e sa ion, alking, lis ening, and embodying ha e o play in building
new spaces o poli ical ac ion? Which bodies and oices a e excluded om
mains eam eminism and how can we c ea e new, mo e inclusi e eminisms? Is i
possible o c ea e a space o eminis lis ening ha is capacious and gene ous enough
177
!F om! he! di ec o ’s! s a emen ! on! ilm! websi e.! “The! pe sonal! is! poli ical”,! also! some imes!
e e ed! o!as,!“The!p i a e!is!poli ical”,!has!an!in e es ing! ela ionship!wi h!a chi es!as!well!as!
ilmmaking.!Chan ed!a !p o es s,!especially!du ing! he!second-wa e! eminism!mo emen !in! he!
S a es,!i !speaks! o! he! ela ionship!be ween!pe sonal!expe ience!and!socio-poli ical!s uc u es,!
o !example! o!challenge!cul u ed!no ms!such!as! he!nuclea ! amily!s uc u e.!The!o iginal!au ho !
o ! he!quo e!is,! a he ! han!dispu ed,!declined!by!mul iple! eminis ! igu es!o ! he! ime,!such!as!
Ca ol!Hanisch!(whose!1969!essay!is! i led!“The!Pe sonal!is!Poli ical”),!Shulami h!Fi es one,!Robin!
Mo gan,!and!o he s,! ende ing! he!quo e!a!collec i e!s a emen .!Two!goals!o ! he!s a emen !a e!
an!opening!up!o !wha !a e!conside ed!p i a e!o !social!ma e s! owa ds!poli ical!analysis!and!
discussion,! and! in es iga ion! o ! sys emic! opp ession! owa ds! women! beginning! in! he! home.!
"The!pe sonal! e lec s! he!poli ical!s a us!quo!(wi h! he!implica ion! ha ! he!pe sonal!should!be!
examined! o!p o ide!insigh !in o! he!poli ical);! he!pe sonal!se es! he!poli ical!s a us!quo;!one!
can! make! pe sonal! choices! in! esponse! o! o ! p o es ! agains ! he! poli ical! s a us! quo;! ...! one's!
pe sonal!choices! e eal!o ! e lec !one's!pe sonal!poli ics;!one!should!make!pe sonal!choices! ha !
a e! consis en ! wi h! one's! pe sonal! poli ics;! pe sonal! li e! and! pe sonal! poli ics! a e!
indis inguishable.”! Rus ,! Paula! C.! 1995.! -Bisexuali y- and- he- challenge- o- lesbian- poli ics:- Sex,-
loyal y,-and- e olu ion.!New!Yo k:!New!Yo k!Uni e si y!P ess.!pp329!
153
o include bo h adical and mo e conse a i e oices—a space ha can hold bo h
iden i ica ion and disag eemen ? Wha kind o cinema ic o m can con ain he
empo ali y o an u gency ha is no eme gen ? And wha can we lea n om he
a chi e abou using eminis s a egies o deal wi h global c isis?”
178
Lusz ig ag eed ha he e was a ela ionship wi h my own hesis and ques ions,
and so ag eed ha in designing he sound o he ilm, I could as well wo k wi h he
Wayback Sound Machine me hods and concep s. Ea ly a emp s had me hinking o
he ime o he le e s ini ial w i ing, and he people who w o e hem. I s a ed o build
an a chi e o he sound o eco ding ma e ial, bo h audio and audio- isual (such as
VHS ape, and s udio came a silences) o laye in in conjunc ion wi h he soundscapes
du ing he momen s o ansi ion be ween eade s, and momen s hey we en’
speaking. Lusz ig and I wo ked back and o h on his, she con inuously would say
some hing was o , bu she couldn’ place wha ha was. I was so locked in o my own
esea ch; I us a ingly could no igu e ou wha she was e e ing o. We inally
decided o gi e up and s a om he beginning again, and I s ipped he ilm o all he
sonic ime wo k I had designed.
A e a pause, we me o discuss and a emp ano he pa h, and Lusz ig
exp essed some hing e ealing. She said she needed he ilm o be con empo a y, i s
p esen needs o be clea o he c i ique o “no hing has changed eally” o come
h ough. This p ojec wasn’ abou he pas , i was abou how hese oices om he
pas could s ill oice he same conce ns and issue oday, many o which we e
cu en ly ge ing wo se again ( e e ing speci ically o he Uni ed S a es unde
T ump). The issues hemsel es we e going back in ime, he ilm needed o ead
p esen o spo ligh ha . The sound wo k om he pas I had done was placing he
sense o he ilm ou o he now and in o he hen. In an in e es ing way, in his case, i
was wo king oo well. The Wayback Sound Machine didn’ wo k on a p ac ical le el
o his case s udy, bu i s ques ions did b ing up impo an issues o he ilm.
I we un h ough he p ojec ’s o iginal schema,
179
i wo ks as a ool. The key
ques ion asks, “Wha can we ga he om sounding he pas , and wi hin ha ,
wha is he ela ionship be ween soundscape and sound design?” Wha pas is
You s in Sis e hood ying o sound? The sound o oices ha we en’ gi ing a
178
!F om! he!di ec o ’s!s a emen :!h p://you sinsis e hood.ne /di ec o s-s a emen /!!
179
!The!o iginal!schema!can!be! ound!in! he!Annex,!pp.!i - i.!