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Abstract(s)
Ao longo das décadas, as paisagens, no sentido mais amplo do termo, sofreram transformações assinaláveis. Tratando-se de mudanças que são perfeitamente percetíveis a nível visual, também a nível sonoro se pode assinalar uma metamorfose constante. É então natural que, num mundo cada vez mais preenchido por uma multiplicidade de timbres, interessa apurar criteriosamente aquilo que efetivamente “ouvimos” no nosso quotidiano. No entanto, todo este exercício de Escuta mais atenta, proposto particularmente no âmbito da apreciação de obras de arte em campos tão diversos como a arquitetura, a música, o cinema e mais recentemente, na apreciação de arte sonora nas suas mais diversas materializações (instalações, paisagens sonoras, esculturas sonoras, etc.) poderá ser mais explorado e merecedor de uma atenção redobrada. O ser humano está constantemente imerso em sons que, dependendo do sujeito, retirados do contexto, ou manipulados de forma consciente ou inconsciente, podem merecer uma audição atenta e proporcionar uma experiência sensorial extremamente subjetiva e em constante ressignificação.
O objetivo deste projeto de investigação é analisar, questionar e refletir sobre as potencialidades de ressignificação a que todas as paisagens sonoras estarão sujeitas. A partir de uma revisão bibliográfica, de uma análise metodológica e conceptual, e de dois projetos artísticos de índole experimental, pretendo comprovar e fundamentar o facto de que as paisagens sonoras são processos de construção sensorial subjetiva que, dependendo das motivações, desejos e curiosidades do ouvinte, poderá ser completamente definida, imaginada ou ressignificada.
Over the decades, landscapes, in a broader sense, had suffered remarkable transformations. These are changes that are perfectly visually noticeable in a visual standard, also at the sound standard it can be marked a persistent metamorphosis. So, it is natural that, in a world increasingly filled with a multiplicity of timbres, what matters is to carefully define what effectively “we hear” in our daily lives. However , all this exercise of attentive listening suggested in the context of the assessment of art exhibitions as architecture, music, cinema and, more recently, the appreciation of sound art in its most diverse materializations (installations, landscapes) sound sculptures, sound sculptures, etc.) can be further explored and deserve extra attention. The human being is constantly immersed in sounds that, depending on the subject taken out of context, or manipulated consciously or unconsciously may deserve attentive listening and provide a sensory experience extremely subjective and constantly resignification. The goal of this research project is to analyze question and reflect on the potential of resignification to which all soundscapes will be subject. From a bibliographic review methodological and conceptual analysis, and two artistic projects of an experimental nature I want to prove the fact that soundscapes are processes of subjective sensory construction that depending on the motivations, wishes and curiosities of the listener it could be completely defined, imagined or resignified.
Over the decades, landscapes, in a broader sense, had suffered remarkable transformations. These are changes that are perfectly visually noticeable in a visual standard, also at the sound standard it can be marked a persistent metamorphosis. So, it is natural that, in a world increasingly filled with a multiplicity of timbres, what matters is to carefully define what effectively “we hear” in our daily lives. However , all this exercise of attentive listening suggested in the context of the assessment of art exhibitions as architecture, music, cinema and, more recently, the appreciation of sound art in its most diverse materializations (installations, landscapes) sound sculptures, sound sculptures, etc.) can be further explored and deserve extra attention. The human being is constantly immersed in sounds that, depending on the subject taken out of context, or manipulated consciously or unconsciously may deserve attentive listening and provide a sensory experience extremely subjective and constantly resignification. The goal of this research project is to analyze question and reflect on the potential of resignification to which all soundscapes will be subject. From a bibliographic review methodological and conceptual analysis, and two artistic projects of an experimental nature I want to prove the fact that soundscapes are processes of subjective sensory construction that depending on the motivations, wishes and curiosities of the listener it could be completely defined, imagined or resignified.
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Keywords
Som Escuta Paisagem Ressignificação Subjetividade