PubliMobility2014 - Jerome Joy website

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!!4. Tuning the environment Listening to an environment as an everyday experience appears as an operation of hybridisation of actions and perception based on tactics of collective-driven modulations in space and time. It embeds both the listeners' mobility and his/her “motility”{footnote}{small}According to Maurice Merleau-Ponty, mobility means that an object is able to be moved and, beyond that, it means it is capable of movement; motility means that an object (and mainly an individual) can move itself voluntarily.{/small}{/footnote}, binding the spaces, in directly experienced evaluations of sonic amplitudes and intensities – when the audience becomes the inverse of a crowd and when the environment becomes something other than a container. We propose that these operative processes of asynchronic and synchronic attachments to places, to moments and to the now, are landscaping a “sensorium” while maintaining characteristics of an “auditorium”, where evolving temporal and spatial dispositions of the listeners are identifiable, recognizable and flexible, despite their continuous immersion and mobility in space and time. The experiencing of a spatial and acoustic space is characterised and assessed by the perception and the feeling of a “certain” homogeneity and intermediacy, and of a co-presence with “something” or “someone”. It implies an action of “tuning” to that which is radiating and coming towards us. To be immersed (and thus to probe the nature of an immersive auditorium) requires the audience and the listeners to move within what they perceive as the “space” or the place of the sound “event”; the place and the space become performative and experiential and include performative relationships between listeners, performers and environment. Immersion (inclusion and continuity) in an environment enables mobility through notions of perimeter, “pace” (rhythm and tempo), equilibrium, scale, “horizon” and directions; through its “moments”, immediacy, fluidity, and “stasis”. Paradoxically, there is no absolute “interior” within which we can be immersed or which we can move into: we continuously evaluate the potential level of separation (between our body and the outside, between the interior and the exterior of the “listening envelope”), and, finally, the listening space is still perceived and experienced as “architectured”, even if it seems to be evanescent and intangible. Our research into auditoriums (Internet auditoriums, Earth-Mars auditorium) is based on these questions related to actions and operations of synchronicities (synchronisation, de-synchronisation, re-synchronisation, resulting from delays, for instance). It is more to do with “tuning” (in French: ''syntonisation'') of temporal and spatial organisation and (architectural) structuring, than with descriptions defining spaces and times as a factual extension of our listening places (including our mobile audio sphere, aided by portable digital devices). A focus on the spatial and temporal envelope of portable place could certainly be made more interesting by taking into account corporeal mobility as well as virtual, imaginative, digital or infrastructural ones. Through these operations, we already act upon our current and existing ways of listening to music, and to everyday and mundane sound environments in ordinary experience and situations. When confronted with emerging sonic states, listening relies on actions of modulation on listening positions and dispositions, fluctuations and dynamics: filtering (with our bodies and by moving according to sound reflections on surfaces), masking (sounds are hidden or emerge due to their simultaneity), cut off effects (transitions from one ambience or atmosphere to another), amplification (the strengthening of sounds increasing their propagation in comparison to background noise and sonic ambiance), partial listening (by selecting between seemingly unlimited and unceasing sonic processes and productions), listening in the wake (following specific sonic dynamic appearances and rhythms into an environment). It is not merely a question of positions and of trajectories of presences and bodies in an environment (visual, sonic, animated, landscape, ambiance, venue, concert hall, at home, with earphones, etc.). It is to listen to more than what we hear. It is continuous and immediate actions of attention through mobility or of mobilised attention (to act in the now, to be aware of the now), of lithe, flexible, and absentminded exchanges and weavings with the fields of the sensible; of mobile versus immobile reality; of oscillations between the “possible” and the “real”. These occur in the adaptations that follow movement inadvertently and unintentionally, through sympathy, intuition and anticipation{footnote}{small}Bergson, La Pensée et le Mouvant (The Creative Mind: An Introduction to Metaphysics), 144-76. 1998.{/small}{/footnote} (this relates to our notion of intuitive music described above). They are to be found in the dynamic constructions of perceptions of the exterior and of interpersonal interactions{footnote}{small}Schütz. “Making music together : a study in social relationship”, 1964.{/small}{/footnote}. AAttention, awareness, and mobility provide intensifications (of the now) that permit us to probe and explore the aesthetic dimensions of environment beyond common perception. The production of continuities (indeed there is no separation between us and the outside{footnote}{small}Berleant, The Aesthetics of Environment, 4. 1992.{/small}{/footnote}) is persistent and remanent. This engenders aesthetic, experiential situations; creative and participative experiences of spatialisation. We act (and interact) with our environments and we engage at anytime and anywhere in aesthetic experiences{footnote}{small}Berleant, Ibid., 11. 1992.{/small}{/footnote}. In a larger sense, we might consider that these notions generate environmental and ambient aesthetics. This is described by the philosopher Arnold Berleant as follows: \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t “For we discover in the aesthetic perception of environment the reciprocity, indeed the continuity of forces in our world — those generated by human action and those to which we must respond. ^[...^] Person and environment are continuous. ^[…^].”{footnote}{small}Berleant, Ibid., 4, 1992; “Berleant argues that aesthetic experience begins with the environment (both natural and humanly modified environments) and extends to art.” (Brady, “Environmental Aesthetics,” 313-21. 2009). See also: Thibaud, “The City through the Senses”, 2012; Augoyard, “Vers une esthétique des ambiances” (Towards an Aesthetics of Ambiances), 17-34, 2005; Böhme, “Acoustic Atmospheres: A Contribution to the Study of Ecological Aesthetics,” 15, 2000. Böhme, “The art of the stage set as paradigm for an aesthetics of atmospheres”, 2013.{/small}{/footnote}\| Similarly, we could say that, in perception, we are shaping the world that shapes us. By our movements and our listening we filter and modulate, tuning the sonic environment constituted of sound expanses (that flow toward us and that we traverse continuously) even if they are coming from remote or absent sources. However we tuning “idiorrhythmically”{footnote}{small}Roland Barthes developed the concept of “idiorrhythmy” to express a possible way of living together, for instance in space, that preserved individual rhythms (withing a group) and a fluctuating balance between them and a communal rhythm (Barthes, Comment vivre ensemble. Cours et séminaires au Collège de France, 1976–1977; and also: Barthes, How to Live Together: Novelistic Simulations of Some Everyday Spaces); and also: Lefebvre, Rhythmanalysis: Space, time and everyday life).{/small}{/footnote} in company with other listeners and actors whom we perceive as co-presence in space (togetherness). A large number of studies by such authors as Thibaud, Böhme and Berleant (among others) gives us an idea of the scope and the magnitude of the questions relating to the reality created by our perception, understanding of and reactivity to the outer world through listening. Consider the notion of “ecotone”, a transition and contact area between two ecosystems or biomes{footnote}{small}See Holland. “SCOPE/MAB technical consultations on landscape boundaries: report of a SCOPE/MAB workshop on ecotones”, 1988.{/small}{/footnote}viewed as an interstitial space between expanses. If we transpose this term into the domains of acoustics and sound research, we discover dual principles: those of continuity (recurrences, structural aspects, organicity) and those of discontinuity (fortuitous events, unexpected saliences, signal losses and cuts). Both operate on our listening, be it musical listening, listening to sonic environments, or to background noise. As we have seen, the sense of “tuning” and of modulation in space and time by us as listener(s) is reliant on our reaction to and interaction with formal and informal lines or elements in sound environments and a fortiori in music (this also applies to experimental music, such as improvised music, noise music, generative music, etc.). Here we encounter ongoing research that the author is conducting related to music based on sound intensity (loudness), delay and decay. This research questions the use of duration and intensity in music or, to put it another way, on duration in musical listening (and in music production) that does not correspond to musical duration (to its chronometric time). It is an attempt to approach a music constituted by interactions and modulations with, and immersions in the environment. It is what the author considers as “extended music” (for expanding and expanded spaces).{footnote}{small}To extend the research by Chris Chafe (Network Delay Studies, and Internet Acoustics: series of papers), Pauline Oliveros (“Echoes from the Moon”), Pedro Rebelo (“Netrooms The Long Feedback, a participatory network piece” and “Nethalls”), Atau Tanaka and Kasper T. Toeplitz (“The Global String”; and also: Atau Tanaka and Bert Bongers. “Global String – A Musical Instrument for Hybrid Space”), etc.; Other references are: Nicolas Collins (“Pea Soup” and “Roomtone Variations”), Gordon Mumma (“Hornpipe”), Hugh Davies (“Quintet”), etc.{/small}{/footnote}. We experience the fact of being a part of the environment – the way our bodies are immersed in the environment and the way in which our systems combine and collaborate with it. The ruggedness of space (present in its responsiveness, its animation and the intensity and density thereof) is combined with its ductility (mobile and evolving shapes and forms) and with its capacity to accommodate and feed fortuitous, incidental and temporary sounds. This combination produces sense/ation that one might compare with the type of musical emotion that we feel, which is independent of any effect of expression. It enables the possibility of idiomatic music; music “by environment” or a work that collaborates with it. One whose elements and conditions are dependant on interactions with and responses from the environment, the context, the milieu, or the ecosystem. Our listening spaces are less places of contemplation than places of participation, of improvisation and of action and engagement. Our audio surroundings become a place of aesthetic and artistic involvement. {br}{br}---- {small}''(This article is partly a reworked version of the ['Synema: Expanses through Connected Environments' article\|PubliSynema2013], published by the online Liminalities revue in 2014)''{/small} {br}{br}{br}---- ---- !!!References {small}Augoyard, Jean-François. 2005. “Vers une esthétique des ambiances.” In ''Ambiances en débats (Ambience in debate)'', edited by Pascal Amphoux, Jean-Paul Thibaud and Grégoire Chelkoff, 17-34. Bernin: La Croisée.{/small} {small}Augoyard, Jean-François and Henry Torgue. 1995. ''À l'écoute de l'environnement. Répertoire interdisciplinaire des effets sonores''. Marseille: Éditions Parenthèses.{/small} {small}Barthes, Roland. 2002. ''Comment vivre ensemble: Cours et séminaires au Collège de France, 1976–1977 (How to Live Together: Classes and seminars from the College of France, 1976–1977)'', edited by Claude Coste. Paris: Seuil/IMEC.{/small} {small}Barthes, Roland. 2012. ''How to Live Together: Novelistic Simulations of Some Everyday Spaces'', translated by Kate Briggs. New York: Columbia University Press.{/small} {small}Bergson, Henri. 1998. ''La Pensée et le Mouvant'' (1938). Paris: Quadrige-Presses Universitaires de France.{/small} {small}Bergson, Henri. 2007. ''The Creative Mind: an Introduction to Metaphysics'', translated by Mabelle L. Andison. Mineola, N.Y.: Dover Publications.{/small} {small}Berleant, Arnold. 1992. ''The Aesthetics of Environment''. Philadelphia: Temple University Press.{/small} {small}Berleant, Arnold. 2005. “Ideas for a Social Aesthetic.” In ''The Aesthetics of Everyday Life'', edited by Andrew Light and Jonathan Smith, 23-38. New York: Columbia University Press.{/small} {small}Berleant, Arnold. 2009. “What Music Isn’t and How to Teach It.” ''Action, Criticism, and Theory for Music Education'' 8 (1): 54-65. {/small} {small}Blesser, Barry and Linda-Ruth Salter. 2007. ''Spaces speak, are you listening? Experiencing aural architecture''. Cambridge MA: MIT Press.{/small} {small}Böhme, Gernot. 2000. “Acoustic Atmospheres: A Contribution to the Study of Ecological Aesthetics.” ''Soundscape: The Journal of Acoustic Ecology'' 1 (1): 15.{/small} {small}Böhme, Gernot. 2013. “The art of the stage set as a paradigm for an aesthetics of atmospheres.” Paper delivered at the international Conference ''Understanding Atmospheres - Culture, materiality and the texture of the in-between'', University of Aarhus, Denmark, March 16-17, 2012. Accessed March 7, 2014. http://conferences.au.dk/fileadmin/conferences/Understanding_Atmospheres/abstracts.pdf and http://ambiances.revues.org/315 .{/small} {small}Brady, Emily. 2009. “Environmental Aesthetics.” In ''Encyclopedia of Environmental Ethics and Philosophy'', Vol. 1, edited by J. Callicott and Robert Frodeman, 313-321. Detroit: Macmillan Reference USA.{/small} {small}Chafe, Chris. Network Delay Studies and Internet Acoustics: series of papers. Accessed March 14, 2014. https://ccrma.stanford.edu/~cc/shtml/research.shtml {/small} {small}Collins, Nicolas. 1976. ''Experimental Music''. BA Thesis. The Honor College, Wesleyan University. Accessed on March 14, 2014. http://www.nicolascollins.com/texts/Collins_BA_thesis.pdf {/small} {small}Collins, Nicolas. 1974; revised 2002-2011. ''Pea Soup'', series of papers (instructions, history, etc.). Accessed on April 14, 2014. http://www.nicolascollins.com/aboutpeasoup.htm {/small} {small}Collins, Nicolas. 2007. ''Composing Inside Electronics''. PhD thesis, University of East Anglia. Accessed on March 14, 2014. http://www.nicolascollins.com/texts/Collins_BA_thesis.pdf {/small} {small}Cowley, Julian. 2003. “Annotations for Sound Art.” Accessed on April 13, 2014. http://www.diapasongallery.org/texts.html {/small} {small}Davies, Hugh. 2001. “Gentle Fire: An Early Approach to Live Electronic Music.” Leonardo Music Journal, 11, 53–60.{/small} {small}Gallet, Bastien. 2005. 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Accessed on April 13, 2014. https://www.musicworks.ca/featured-article/featured-article/akio-suzuki {/small} {small}Lefebvre, Henri. 1992. ''Éléments de rythmanalyse: Introduction à la connaissance des rythmes''. Paris: Éditions Syllepse.{/small} {small}Lefebvre, Henri. 2004. ''Rhythmanalysis: Space, time and everyday life'', translated by Stuart Elden and Gerald Moore. New York, London: Continuum.{/small} {small}Maconie, Robin. 1989. ''Stockhausen, Lectures and Interviews'', compiled by Robin Maconie. London-New York: Boyars.{/small} {small}Mooney, James. 2014. “Technology, Process and Musical Personality in the Music of Stockhausen, Hugh Davies and Gentle Fire.” In ''The Musical Legacy of Karlheinz Stockhausen'', edited by I. Misch and M. Grant. Pfau-verlag.{/small} {small}Mooney, James. 2012. “Process in Gentle Fire‘s Group Compositions.” Talk given at ''Music and/as Process'' symposium, University of Huddersfield, UK, 8 December 2012. 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Paris: Deterville, 1796.{/small} ** {small}Da Vinci, Leonardo. ''Teatrise on Painting''. Translated by John Francis Rigaud. London: Nichols & Sons, 1835.{/small} {br}{br}{br}{br}{br}{br}{br}{br} ---- {br}{br}
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