//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?

Diane SCHUH | FR |

Paper

Écouter la singularité des milieux sonores du Tiers-paysage et du Jardin en Mouvement, propositions de recherche-création au prisme de la pensée de Gilles Clément

Abstract

Given the emergencies we are experiencing, linked to climate change and the pressure of the human world on the non-human world, the question of the world to come is directly linked to the challenges of preserving our biodiversity and diversity in general. But in a world where the thought of a division between Nature and Culture still seems to guide policies, where human pressure is pushing back the territories of non-humans every day, where is biodiversity still located? Perhaps in the Third-Landscapes theorized by Gilles Clément: "An undecided fragment of the planetary garden, the Third-Landscape is made up of all the places abandoned by man. These margins assemble a biological diversity that is not yet listed as a wealth" (Clément 2004, p. 7). These environments escape the characteristic homogenization caused by globalization. Third-Landscapes, by their intrinsically dynamic character, are places of possibilities, far from human laws. They allow the emergence of "event-incidents", chance encounters producing what Guattari calls re-singularization (Guattari, 1989, p. 47) and constitute one of the possibilities of the world to come. Gilles Clément's thinking gives us tools that can be transposed to the field of listening and musical creation. These Third-Landscapes are indeed also places of sound hybridizations, places of interweaving and audible co-creation between humans and non-humans. I went to listen to these singular and yet ordinary places: what can they bring as tools to the composer, how can they inspire us to make creative responses to the challenges of our world? We will seek to answer these questions through two creative projects: the active recording of six third landscapes (several wastelands at different stages of development, from recent abandonment to complete reconquest) and the bioacoustic listening of a Garden in Movement. This technique is based on the installation of devices that can record 24 hours a day at frequencies up to 384Khz. It allows the listening, once the sounds are put back to scale, of a world unheard of by man: outside his biological rhythm and beyond the limits of his listening. Thanks to these recording tools, we can understand the rhythms of these places, hear the inaudible, make ourselves available to listen to these marginalized places. Thus the dynamic organization of the sound elements which constitute them allows a re-singularization of the listening at the origin of a creation in line with an ecosophical approach. The Third-Landscape and the Garden in Motion then become our “teacher” in creations that make us sensitive to the dynamic processes of other forms of life, an imperative and now urgent posture in the face of current environmental and social crises. CLEMENT, Gilles, Manifeste du Tiers paysage,1ère édition Paris, Éditions Sujet/Objet, 2004. GUATTARI, Félix, Les Trois écologies, Galilée, 1989.

About

A former landscape architect and graduate of ENSAAMA Olivier de Serres Paris and ENSP Versailles, composer Diane Schuh has redirected herself to her first passion: music, by resuming her studies in violin and composition at the conservatory. At the conservatory, she studied early polyphony, baroque and contemporary music and composed several pedagogic pieces. Diane Schuh has a master's degree in Musicology, Theories and Practices of Music (University of Paris VIII). She majored in composition and informatique musicale. She studied composition in the class of José Manuel López López and has composed for 2e2m (Sédimentations for oboe, trumpet, accordion, cello and electronics) and Cairn ensembles (« Si on ne fait rien, on fait une forêt » for flute, microtonal accordion, violin and live electronics). Diane Schuh is interested in questions around sound ecology, pedagogy and making common experiences through listening. She is inspired by the living to compose sound environments that can bring together human and non-humans by hybridizing practices around field recording, electronic music and acoustic instruments compositions. The question of the place and the environment, of their interactions with sound is at the center of her concerns. In October 2021 she started a fully funded research-creation doctorate at EDESTA Paris VIII. « Symbioses, milieux, gardens in motion: what the gardener does to music » under the direction of Anne Sèdes and co-direction of Alain Bonardi, is a work that will explore the transfers of garden models and methods to composition.

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