Introduction | 12 |
PART ONE TUNING
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Chapter 1 Art Practices | 16 |
1.1 Artwork 1: Clapham Junction 1.1.1 Sound diaries 1.1.2 Clapham Junction: combination of present London sounds and archived Taiwan sounds
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1.2 Artworks 2 & 3: London and Taipei: combination of present London sounds and subsequently recorded Taiwan sounds 1.2.1 Field recordings 1.2.1.1 Questions 1.2.1.2 Answers 1.2.1.3 Sound connections for field recordings summarised from my answers 1.2.1.4 Summary 1.2.2 Artwork 2: London and Taipei (Stereo) 1.2.3 Artwork 3: London and Taipei (Dolby Digital5.1)
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1.3 Conclusion: introducing the concept of 'sonic constellations' 1.3.1 From Dolby Digital 5.1 to the multi-speaker installation 1.3.2 'Sonic constellations' 1.3.3 Next: from personal to public
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Chapter 2 Soundscape: a literature review
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2.1 About World Soundscape Project 2.1.1 History 2.1.2 Development-- Five Village Soundscapes and other international soundscape researches
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2.2 Question 1: What if the researchers were familiar with the targeted soundscapes?
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2.3 Question 2: What if the targeted soundscapes were investigated through not only auditory but also visual senses?
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2.4 Question 3: What if the listeners were not the natives?
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2.5 Conclusions 2.5.1 Shaping the case study: field work and homework 2.5.2 Definitions of terms 2.5.2.1 'The London-based Taipei sojourners' 2.5.2.1.1 London 2.5.2.1.2 Taipei 2.5.2.1.3 Definition of 'the London-based Taipei sojourners' 2.5.2.2 'The London Soundscape' 2.5.2.2.1 The boundary 2.5.2.2.2 The inside: multi-cultural sonic mosaics 2.5.2.2.3 The in-between: interconnectivity 2.5.2.2.4 Definition of 'the London soundscape' 2.5.2.3 'Sojourners' soundscapes' 2.5.2.4 Restating soundscape
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Chapter 3 Researching 'Sojourners' Soundscapes'
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3.1 Research aims and questions 3.1.1 Questions 3.1.2 Aims
| 74 |
3.2 Methodologies 3.2.1 Blending art practices and academic research 3.2.1.1 Definition of 'practice-led research' 3.2.1.2 My research as a 'practice-led research' 3.2.2 Blending sound artworks and interview 3.2.2.1 Concepts 3.2.2.2 Methods 3.2.2.2.1 Sound diary 3.2.2.2.2 Soundwalking 3.2.2.2.3 Sound nomination 3.2.2.2.4 Sound drawings and sound maps 3.2.2.3 My employment of the interview method 3.2.3 Blending audio recording and auditory memories 3.2.3.1 In Memory studies 3.2.3.2 In sound artworks 3.2.3.3 My employment of auditory memories 3.2.4 Proposed methods
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PART TWO SOUNDING
| 102 |
Chapter 4 Collecting sound materials
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4.1 The interviewees
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4.2 The interview questions
| 105 |
4.3 The interview sessions 4.3.1 Aims and methods of the sessions 4.3.2 The duration of the interview procedure
| 107 |
4.4 Conclusions 4.4.1 Facts or imaginations?-- An extension of the band of listening 4.4.2 Categorising the nature of sounds nominated by the interviewees 4.4.2.1 Regular/predictable sounds and incidental sounds 4.4.2.2 Natural sounds and performed sounds 4.4.2.3 What are the sounds of Taipei? 4.4.3 The role of the interviewer 4.4.3.1 The scholARTist's interview 4.4.3.2 Foreignness and curiosity 4.4.3.3 The ethics 4.4.4 The outcomes
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Chapter 5 Presenting 'sojourners' soundscapes'
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5.1 London and Taipei (Installation) 5.1.1 The aim 5.1.2 The investigation 5.1.3 Reflections
| 126 |
5.2 Moments of Recollection 5.2.1 The aim 5.2.2 The investigation 5.2.3 Reflections
| 129 |
5.3 Listen to London with Ten Taipei Sojourners (An artist's book with a CD) 5.3.1 The aim 5.3.2 The investigation 5.3.3 Reflections
| 134 |
5.4 The London-Taipei Sound Map (An Internet sound map) 5.4.1 The aim 5.4.2 The investigation 5.4.3 Reflections
| 137 |
5.5 Sonic Constellations 5.5.1 The aim 5.5.2 The installation 5.5.2.1 The London and Taipei maps 5.5.2.2 The indoor space 5.5.2.3 Ten recorded London sounds and twenty-thee recorded Taipei sounds 5.5.2.4 The physical interactions between the audience and the sounds 5.5.2.5 The assembly 5.5.3 Reflections
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PART THREE RESONATING
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Chapter 6 Analyses through art practices and theory
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6.1 An analysis through art practices 6.1.1 Extended Acoustic Horizons 6.1.2 The Inter-soundscapes 6.1.3 Conclusion
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6.2 An analysis through theory: the interactions between sounds and maps 6.2.1 Moving from a neutral and silent sound map 6.2.2 Making a sound map audible 6.2.3 Making a sound map subjective: ;sonic mental/cognitive maps' 6.2.4 Making a sound map interactive: 'inter-soundscapes'
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Chapter 7 The conclusion: 'Sojourners' soundscapes'
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7.1 A modified definition of 'sojourners' soundscapes'
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7.2 The nature and potential of 'sojourners' soundscapes'
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7.3 The contribution of the research
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7.4 The fundamental principles discovered from the research
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Appendices
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1. My sound connections of London-Taipei 2. An e-mail from an interviewee who decided to drop off 3. The interview question for the interview session 2, 3, 4 and 5 4. The informed Consent 1 5. The informed Consent 2 6. The form for enquiring the interviewee's personal information 7. The instruction for listening to the CD London and Taipei 8. The list of recorded sounds 9. The results of the interview-- the obtained sounds of London and Taipei in tables 10. The results of the interview-- the transcripts of the interviewees' reasons of nominations 11. The report of the pilot interview 12. Extracted transcripts of the interviewees' responses to the CD London and Taipei 13. The interviewees' 'chosen places' in London 14. Details of sounds included in the ten soundtracks of Extended Acoustic Horizons 15. The postcards of The Inter-soundscapes
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Bibliographies | 267 |
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Discs | |
1. Clapham Junction (DVD, 8 channels) 2. London and Taipei (DVD, 5.1) 3. The documentation of the field recordings (DVD, Stereo) 4. The soundtracks for Moments of Recollection (CD, Stereo) 5. The documentation of London-Taipei Sound Map (DVD, Stereo) 6. The 33 sounds used in Sonic Constellations (CD, Mono) 7. The soundtracks for Extended Acoustic Horizons (CD, Stereo)
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CD album
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1. London and Taipei (Stereo)
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Artist's book
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1. Listen with Ten Taipei Sojourners in London (with CD, Stereo)
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