伯尼-克劳斯和他的声音档案。在野性与体现关系之间

Maciej Guzy
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引用次数: 0

摘要

伯尼·克劳斯和他的声音档案。本文旨在从生态学范式变化的角度,比较伯尼·克劳斯(Bernie Krause)的两个自然声音档案——野生保护区(Wild Sanctuary)(1968年开始开发)和黎明合唱团(Dawn Chorus)(2020年建立)。作者认为,上述两个项目在克劳斯制定的目标方面是一致的——它们被认为会影响听众并引起他们之间的生态关注——但在结构和加强人与环境纠缠的预设策略方面有所不同。本文的第一部分是对分析项目的描述。此外,文章的考虑被定位为Renata Tańczuk先前发表的论文的放大(他将野生保护区视为人类世的档案)。其次,作者考察了档案生产过程中公开共享形式的可见性。然后,描述了这两个档案背后的自然概念。最后,笔者分析了《野生保护区》与《黎明合唱团》在情感媒介上的差异,认为后者更符合当代对环保艺术和研究活动的要求,而不是前者。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Bernie Krause i jego dźwiękowe archiwa. Między dziką naturą a ucieleśnioną relacją
Bernie Krause and His Sound Archives. Between Wild Nature and Embodied Relation The paper aims to compare two natural sound archives by Bernie Krause, Wild Sanctuary (being developed since 1968) and Dawn Chorus (established in 2020), from the perspective of ecology paradigms changes that have occurred over the years. The author assumes that both of the abovementioned projects are consistent with each other in respect of the goals formulated by Krause – they are thought to affect their listeners and evoke ecological attentiveness among them – but differ in terms of their structure and presupposed strategies of enhancing human-environment entanglements. The first part of the article is dedicated to the description of analysed projects. Also, the article considerations are being positioned as the amplification of the previously published paper by Renata Tańczuk (who treated Wild Sanctuary as an Anthropocene archive). Secondly, the author investigates the visibility of the archive production process in the forms in which they were publicly shared. Afterwards, the conceptualizations of the Nature underlying both of the archives are described. Finally, the author presents the differences in the affective agencies of Wild Sanctuary and Dawn Chorus, coming to the conclusion that the latter project, not the former one, responds to the contemporary requirements imposed on the pro-environmental artistic and research activities.
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