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The sounds of space: Social space and social listening (Part II)

The sounds of space: Social space and social listening (Part II) In filmmaking practice, several elements of the soundtrack, certain sound effects, the atmospheres tracks, and the acoustic treatment of sounds and so on, are about imparting spatial information. Filmmaking may be conceived as a spatial art form and the soundtrack is a key (though not exclusive) bearer of this spatial information. It is the aim of this article to unpick and expand upon the implications of recognising that the soundtrack is spatial. It has revealed a way of thinking about the soundtrack that is alive to the social; aware of the social context of the people who live in and create the spaces it is my job to describe. Aware too, of the subjective and emotional ways in which people experience space. Space then is something that can be understood as being both socially produced and experiential. This article is therefore also about exploring what that means when thinking about the spatial elements of my practice. All of which I believe has made me a more sensitive practitioner but also and perhaps most importantly, a better listener. Part I of this article appeared in The New Soundtrack, Volume 3, Issue 2, 2013. KEYWORDS alienation space psychogeography Occupy Keiller http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

The sounds of space: Social space and social listening (Part II)

Griffiths, Tom Lock
The New Soundtrack , Volume 4 (1): 15 – Mar 1, 2014
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press
Subject
Articles; Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2014.0049
Publisher site
See Article on Publisher Site

Abstract

In filmmaking practice, several elements of the soundtrack, certain sound effects, the atmospheres tracks, and the acoustic treatment of sounds and so on, are about imparting spatial information. Filmmaking may be conceived as a spatial art form and the soundtrack is a key (though not exclusive) bearer of this spatial information. It is the aim of this article to unpick and expand upon the implications of recognising that the soundtrack is spatial. It has revealed a way of thinking about the soundtrack that is alive to the social; aware of the social context of the people who live in and create the spaces it is my job to describe. Aware too, of the subjective and emotional ways in which people experience space. Space then is something that can be understood as being both socially produced and experiential. This article is therefore also about exploring what that means when thinking about the spatial elements of my practice. All of which I believe has made me a more sensitive practitioner but also and perhaps most importantly, a better listener. Part I of this article appeared in The New Soundtrack, Volume 3, Issue 2, 2013. KEYWORDS alienation space psychogeography Occupy Keiller

Journal

The New Soundtrack – Edinburgh University Press

Published: Mar 1, 2014

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