Habitar el Humedal con/a través del sonido: Voces vivas y memoriales alrededor de Santa Fe
In November 2022, a group of musicologists and musician-researchers met in the Argentine city of Santa Fe as part of the INNOVART project «The uses of sound. Creative, theoretical and technological approaches to field recording», for field work based on sound recordings. The initial idea, which was...
Guardado en:
| Autores principales: | , , , , , , , |
|---|---|
| Formato: | Artículo revista |
| Lenguaje: | Español |
| Publicado: |
Universidad Nacional del Litoral
2023
|
| Materias: | |
| Acceso en línea: | https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/13229 |
| Aporte de: |
| Sumario: | In November 2022, a group of musicologists and musician-researchers met in the Argentine city of Santa Fe as part of the INNOVART project «The uses of sound. Creative, theoretical and technological approaches to field recording», for field work based on sound recordings. The initial idea, which was to listen to the Paraná River around Santa Fe – that is, to report on this unique ecosystem through listening and listening technologies – was gradually enriched and finally the mission was developed in three sites: the islands of the Paraná middle, the Boca neighborhood on the outskirts of Santa Fe and the Coronda prison located along the Paraná. The Paraná islands were studied thanks to two boat trips and invitations from the island's inhabitants. The Boca neighborhood was visited while participating in a community tourism project organized by neighbors. As for the Coronda prison, the group arrived there with two former political prisoners of the Videla dictatorship as guides. For each site, sound recordings and interviews were made on the topic of sound and listening. To better reflect this fieldwork, this article incorporates a selection of recordings, interview excerpts and images. The text is structured in a theoretical introduction, followed by a methodological part, then five main parts that relate field experiences according to a specific approach to the sound dimension: morphological, everyday, attention, qualitative and political; The conclusion points to the need for ecosophical listening and proposes a reflection on the act of recording. |
|---|