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The Sound of a Damaged Habitat

Authors:
  • Wild Sanctuary, Inc.

Abstract

An over-view of the effects of human endeavor on wild soundscapes
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... Anthrophonies are produced by artificial devices made by humans (Farina, 2014). They are increasingly regarded as intrusive and dominant parts of soundscapes Farina, 2014;Krause, 2012;Qiu, Zhang, & Zheng, 2018). ...
... Anthrophonies are associated with urban development and globalised trade (Farina, 2014). As a major cause of noise pollution (Krause, 2012), anthrophonies can cause dangerous consequences to all organisms and to human health (Farina, 2014). Exposure to noise increases in importance when moving towards urban, industrial and transportation areas. ...
... The graphic spectrum of "my" yellow wagtail's song.Acoustic complexity of biophonies are high because of intra-and interspecific individuality in active and passive communication and movement. Despite technological development, it is not always possible to identify all biophonies that compose a soundscape(Farina, 2014).Krause (2012) excludes human-made sounds from this category and calls them noise.Farina (2014) thinks the human voice should be considered and included but does not mention other natural sounds of humans. ...
Thesis
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Waitt and Duffy (2010) emphasised the loss of information in tourism research by arguing that a new understanding of knowledge, social power and interconnection between actors and tourism can be uncovered by focusing our attention on the ear and the world of sound. This thesis focuses on the importance of sound and soundscape in Sámi tourism. Inspired by abductive procedures (Alvesson & Sköldberg, 2017) my work presented itself to become a Sámi phenomenological feminist material semiotic (van der Duim, Ren, & Jóhannesson, 2017; Ingold, 2002, Haraway, 1988; Law, 2004). I developed my project based on an interest in the embodied sensuous experience of the world and to investigate the role of the sound with a Sámi entrepreneur at Vuolit Mollešjohka Duottarstophu. Through my indigenous performance ethnography an emphasis was placed upon sound recordings. I also used conversation, and others storytelling and participated practises as methods. Bringing attention to the ear, sounds, the acoustic and the sonic in tourism surprisingly, the tacit knowledge of traditional skills presented itself. Caring for everything that belongs to and passes through the surroundings at Vuolit Mollešjohka demands enhanced sonic skills of listening. Sound shows the effect that materials have, how they relate and when they matter. By participating in the daily practices and paying attention to how Piera and his family practice jávredikšun (caretaking) to all the verddes (guest-friends) that passes through their meahcci (nurture land), they give a possibility to experience their ways of knowing, being and doing in the soundscape. Local and traditional skills are used to re-create symbolic relations and practises that have been repressed under colonialization. In the process of decolonialisation of Sápmi, the Verdde tourism concept developed at the Vuolit Mollešjohka makes for an interesting contribution to the encounters of knowing coming together in difference. Key words – indigenous ways of knowing, embodiment in tourism, soundscape, materiality, care
... Our stance is in line with that of other thinkers and composers who have stressed the importance of "reclaiming sound as an essential, but undervalued, cultural and political resource" at a time of ecological crisis (Comstock and Hocks 2016: 166). Bernie Krause (2012), for example, has drawn attention to the way that soundscape recordings can chart both the decline of more-than-human voices and the increase in human disturbances in a given place. Such recordings are representative of acoustic ecology, a field of research which emerged in the 1960s from the work of composer R. Murray Schafer, one of the first to draw attention to the dangers of sound pollution and the importance of preserving natural soundscapes (Pasoulas, 2020). ...
... By listening to places and spaces, it is possible to discern uneven, often-obscured, and gradual processes, such as extinction and dispossession. This is something that bioacousticians advocate for with regard to biodiversity loss due to sustainable logging in which changing population densities can be heard but not seen (Krause 2012); it is apparent through the severe effects of infrasonic and ultrasonic devices used for offshore oil and gas exploration on marine life vocalization (Foley 2014). ...
Article
This appeal calls for sound to be considered as a geophilosophical provocation to, and a method for, political thought. It arises from experiments in ways of knowing and inhabiting the world, gesturing toward disciplines concerned with sound, the politics of language, and the physical and philosophical environment. Anchoring sound as an inherently political medium, it outlines five propositions on inequality, imperceptibility, translation, commons, and the future; it argues that these are critical arenas into which the particularities of sound afford inquiry. Developing this specific reading of sound positions the sonic as a means for opening spaces that challenge hegemonic and violent forms of subjectivation, which are productive of contemporary states of ecological and economic crisis.本文呼吁将声音考量作为政治思想的地理哲学刺激及方法。该呼吁从认识与身处于世界的方法之实验中兴起,向考量声音、语言政治、以及实质和哲学环境的学科致意。本文将声音锚定作为内在的政治媒介,概略出不均、不可感知性、翻译、共有,以及未来的五个主题;本文主张,这些是探索声音示能质问的特殊性时的关键领域。建立此般对声音的特殊阅读,将声音置放作为打开挑战霸权和暴力从属形式的空间之方法,并对当前的生态及经济危机状态具有生产性。Esta súplica clama porque el sonido sea considerado una provocación geofilosófica del pensamiento político y un método para el mismo. La súplica surge de experimentos sobre modos de conocer y de habitar el mundo, reclamándole a las disciplinas relacionadas con el sonido, las políticas del lenguaje y el medio ambiente físico y filosófico. Anclando el sonido como un medio inherentemente político, el reclamo delinea cinco proposiciones sobre desigualdad, imperceptibilidad, translación, comuneros y el futuro; se arguye que estas proposiciones son escenarios críticos dentro de los cuales las particularidades del sonido promueven la indagación. Al desarrollar esta lectura específica del sonido se posiciona lo sónico como un medio para abrir espacios que reten las formas hegemónicas y violentas de la subjetivación, que son generadoras de estados contemporáneos de crisis ecológicas y económicas.
Article
Background: The field of acoustic ecology emerged from Simon Fraser University in the late 1960s during which time R. Murray Schafer and the World Soundscape Project studied everyday soundscapes and the rise of urban noise. While it was an innovative approach to understanding the relationship between humans and their environments, it reproduced the dominant frameworks of this period. Analysis: This article argues that contemporary acoustic ecology discourse continues to frame noise, silence, and urban acoustic design through a white normative and colour-blind listening framework. This article examines dominant authorship and citation practices within leading journals that publish soundscape literature as well as sound mapping practices. Conclusion: After also surveying seldom-cited soundscape research that interrogates the environmental listening and sound-making practices of BIPOC and marginalized communities, the article concludes that there is a need for contemporary soundscape research to incorporate more intersectional and decolonial modes of environmental listening.
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