//Unheard_Landscapes - listening | resonating | inhabiting 10th FKL/ENP/AAU_CRESSON International Symposium on Soundscape BLOIS | October 27 -30

Unheard landscapes: this metaphor leaves space to imagination, to the un-thought, to the un-known, to past and future, as well as unexplored sound scenarios. It also reaches the field of auditory perception, the acoustic domain. Sound, through auditive qualities, acoustic phenomena, design practices, artistic creations, and listening experiences, offers an inspiring transversal entry onto landscapes and ambiances. Beyond the discussions on “soundscape”, approaching ordinary environments through sounds increases the awareness of our own capacities to feel, while we inhabit and move across different worlds. From an ecological perspective, resonance appears a key word, too. It puts sound and space together. It implies the idea of a plurality of bodies, things and living beings vibrating all together, sharing common contexts of time and space. The act of listening bypasses the passive meaning it usually receives. It contains in itself a completely unexpressed potential, connoted with «project», «pro-action» and «active decision» by individuals. What will be the sounds of the future and the soundscapes in which we will live, or would like to? How can listening practices evolve, how will we listen or how differently could we listen to the world around us, tomorrow? Inhabiting the world brings to us questions about how we want to manage our being in it. How do we want to inhabit the world sonically? How sound and listening do actually affect our way to inhabit it? Have we lost some of our abilities to resonate with the world? What remains to be heard? Where could the practices of listening and attuning take us to?

Rodolphe ALEXIS

Paper

Audiographie Sensible de la Multitude, I - Dialogues d'Ecoutes / Audiography of the Multitude, I - Listening dialogues

This communication can be followed by a sound diffusion of in quadraphony (or stereo). Proposition is based on artistic research project supported by the Centre National des Arts Plastiques. The first field phase will begin in summer 2021 but the first session of meetings and field recordings took place in 2019. As a prospective presentation, expectations and methods of the project will be exposed with a critical approach of the practices of field recording in their cultural determinism within a history of techniques. This artistic research takes place in the "Terra Indigena Sete Setembro" of the Paiter Surui people in the Brazilian state of Rondônia as well as the "Roosevelt" territory of the Cinta Larga people in Mato Grosso. These communities, which have paid a heavy price, both human and cultural, to the economic development of Brazil, are now trying to maintain traditional links with their environment despite ideological or material intrusions. Biodiversity places represented by these indigenous lands are surrounded by a desert of monoculture. The both symbolic and real insularity, makes these territories a fertile ground for listening to the ontological frictions between original animism and modern naturalism. The feverishness of the context, which echoes the current and future global upheavals, makes it more than ever necessary to share our ways of hearing, and to question a heuristic of sound as modalities of relationship or even repair. The construction of the landscape, the notion of nature, its musicality, technical paradigms, the subject-object ratio, relationships non-human ... are all avenues to explore in an attempt to redefine, in a sensitive manner, a multitude of listening and recordings of the living. This first part, entitled "Listening dialogues" will come to meet a Western exoticism and a local daily life, and will result in the realization of collective listening to recorded artifacts, the follow of animal tracks, evening talks, and individual recordings, by imagining some decentralization and other particular modes of attention.  The "inhabited listening" will be considered through the prism of semiotic porosity, relationships and forms of attachment, particularly around symbolic animal figures such as the harpy eagle. By attempting to avoid romanticism or essentialism like any claim to objectivity, it will above all be a collective artistic achievement testifying to a life experience, deployed in different forms of restitution: communications, concerts, installations, and discographic support. The latter having to incorporate in its very conception the notions of extraction, impermanence, and responsibility.

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