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Authors
Abstract(s)
Com o presente projeto de mestrado procura-se fomentar a exploração e a (re)apreciação dos sons da cidade de Coimbra segundo uma prática de escuta ativa e diferenciada, que assenta numa perspetiva de articulação entre a recolha de gravações de campo in situ, a partir de uma série de caminhadas sonoras efetuadas ao longo da cidade, e a produção de três instalações artísticas inspiradas no trabalho do ecologista norte-americano Bernie Krause.
Imersos no contexto de uma nova era geológica, a que atualmente designamos por Antropoceno (Krause, 2021, p. 81), a referida proposta tem por base ideias e reflexões tão fundamentais como a composição acústica dos ecossistemas, as interações sónicas que se estabelecem com os vários intervenientes acustemológicos ou a forma como as diferentes comunidades se expressam com os lugares da cidade. Estes temas serão introduzidos por uma primeira parte teórica, ancorada nas abordagens artísticas e científicas de vários autores, com particular destaque para a área disciplinar dos estudos do som. A componente prática do projeto, por sua vez, pretende traçar novas correspondências auditivas com os sons de Coimbra, baseadas
numa experiência de escuta dinâmica, no local, mas também através da implementação artística e conceptual de três instalações sonoras no espaço do Convento de São Francisco, na ocasião do evento “Dar a Ouvir. Paisagens Sonoras da Cidade. Just Listen!”. Estas obras integram, assim, uma coleção expositiva guiada pelas principais categorias sonoro-paisagísticas descritas por Bernie Krause: a antropofonia, a biofonia e a geofonia (Krause, 2016, pp. 2-8).
Por último, a elaboração de um conjunto de estudos empíricos sobre a temática da paisagem, visa responder de que forma a (re)configuração do lugar, diretamente das ruas para um espaço museológico descaracterizado, permite ou não elaborar uma representação paisagística em função dos modelos propostos por Krause e demais seguidores. Enquanto exercício artístico, este é também um exercício metodológico, que alimenta a reflexão em torno das classificações contemporâneas de paisagem.
The current master’s project aims to explore and reveal some of the most peculiar sounds of Coimbra, presented through a practice of active and distinctive listening. This exercise combines both a filed recording method and an artistic installation approach, as guided by the inherent dynamics of the city’s own soundscapes, mainly inspired by the notorious work of the North American ecologist Bernie Krause. Immersed in a new geological era, usually called the Anthropocene (Krause, 2021, p. 81), this proposal evokes fundamental thoughts and reflections in the contemporary world, including the acoustic composition of ecosystems, the sonic relations between acoustemological identities and the way as the different communities build and express their own sense of place. All these topics would be introduced by a theoretical framework, aligned with some of the most relevant artistic and scientific standpoints, especially supported on the interdisciplinary and academic field of sound studies. On the other hand, all the consequent empirical research seeks to promote new auditory correspondences with the widest sound palette of Coimbra, considering an earlier momentum of conscious listening, in site, but also a production of three sound installations in Convento de São Francisco, during the festival “Dar a Ouvir. Paisagens Sonoras da Cidade. Just Listen!”. Assembling an artistic collection about sound and place, this work is an experimental exercise too, throughout the different categories of soundscapes, as described by Bernie Krause in 1998 (Krause, 2016, pp. 2-8): anthropophony, biophony and geophony. In the end, combining a new series of practical studies, this thesis forces to redefine the notion of place, directly from the streets, outdoors, to the typical and undefined museum wall. Are the krausianian concepts of soundscapes still viable solutions to qualify our sonic surroundings? Conveying an artistic experience, this work defines a methodological exercise as well, and it gathers distinct perspectives around contemporary landscape configurations.
The current master’s project aims to explore and reveal some of the most peculiar sounds of Coimbra, presented through a practice of active and distinctive listening. This exercise combines both a filed recording method and an artistic installation approach, as guided by the inherent dynamics of the city’s own soundscapes, mainly inspired by the notorious work of the North American ecologist Bernie Krause. Immersed in a new geological era, usually called the Anthropocene (Krause, 2021, p. 81), this proposal evokes fundamental thoughts and reflections in the contemporary world, including the acoustic composition of ecosystems, the sonic relations between acoustemological identities and the way as the different communities build and express their own sense of place. All these topics would be introduced by a theoretical framework, aligned with some of the most relevant artistic and scientific standpoints, especially supported on the interdisciplinary and academic field of sound studies. On the other hand, all the consequent empirical research seeks to promote new auditory correspondences with the widest sound palette of Coimbra, considering an earlier momentum of conscious listening, in site, but also a production of three sound installations in Convento de São Francisco, during the festival “Dar a Ouvir. Paisagens Sonoras da Cidade. Just Listen!”. Assembling an artistic collection about sound and place, this work is an experimental exercise too, throughout the different categories of soundscapes, as described by Bernie Krause in 1998 (Krause, 2016, pp. 2-8): anthropophony, biophony and geophony. In the end, combining a new series of practical studies, this thesis forces to redefine the notion of place, directly from the streets, outdoors, to the typical and undefined museum wall. Are the krausianian concepts of soundscapes still viable solutions to qualify our sonic surroundings? Conveying an artistic experience, this work defines a methodological exercise as well, and it gathers distinct perspectives around contemporary landscape configurations.
Description
Keywords
Paisagem Lugar Escuta Caminhada sonora Gravação de campo Instalação Arte sonora Bernie Krause Landscape Place Listening Soundwalk Field recording Installation Sound art