从“声景”思考传播:声音、空间与听觉感官文化
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摘要
受限于视觉性的思维框架,以声音媒介及其使用为议题的传播研究倾向于关注社会情境中人对声音内容的接受过程,将具有空间性的声音压缩到平面世界来讨论,忽略了声音环境本身的形塑、声音的空间性以及它与人类感官的互动。而声音景观研究则从空间与听觉者的感官经验出发来考察声音环境,以及经由人的听觉方式(包括解读声音文化意义的能力和听觉的涉身倾向)而在内心形成的对此声音环境的印象。声景研究将声音视作一种直接跟身体感官互动的环境,而非仅是内容的承载者。声景与听觉方式呈现出某一时期特定的权力关系与物质技术特征。通过考察更广泛空间中的声景,能够拓展与联系各个声音媒介的传播情境/场所,洞见它们之间的位置安排与权力关系。
Framed by visualized thinking patterns, communication studies on sound media and their usage tend to investigate the process of listeners consuming and accepting sound content in social contexts, thus rendering sound of spatiality into a two-dimensional world. These studies generally neglect the shaping of sound environment and its interaction with human senses. In contrast, the theory of soundscape based on space and the listener's experience explores the shaping of the sonic world around and the impression of that created by "listening patterns" which includes the potentiality of reading the meanings conveyed by sound and a certain kind of embodied aptitude trained by the very soundscape. Soundscape theory considers sound as an environment that interacts directly with human sensorium, not only conveyor of content. Soundscape and listening patterns present the particular power relation and the characteristics of material, technological condition of a certain period. By investigating soundscape in a broader space, we can connect different sites/contexts of relatively small scale where communication activities happen, and examine the spatial arrangements between these sites, as well as the power relation behind.
Framed by visualized thinking patterns, communication studies on sound media and their usage tend to investigate the process of listeners consuming and accepting sound content in social contexts, thus rendering sound of spatiality into a two-dimensional world. These studies generally neglect the shaping of sound environment and its interaction with human senses. In contrast, the theory of soundscape based on space and the listener's experience explores the shaping of the sonic world around and the impression of that created by "listening patterns" which includes the potentiality of reading the meanings conveyed by sound and a certain kind of embodied aptitude trained by the very soundscape. Soundscape theory considers sound as an environment that interacts directly with human sensorium, not only conveyor of content. Soundscape and listening patterns present the particular power relation and the characteristics of material, technological condition of a certain period. By investigating soundscape in a broader space, we can connect different sites/contexts of relatively small scale where communication activities happen, and examine the spatial arrangements between these sites, as well as the power relation behind.
引文
阿兰·科尔班(1998/2003)。《大地的钟声:19世纪法国乡村的音响状况和感官文化》(王斌译)。桂林:广西师范大学出版社。
艾米丽·汤普森(2002/2016)。声音、现代性和历史(王敦、张舒然译)。《文学与文化》,(2),95-99。
迪克·赫伯迪格(1979/2009)。《亚文化:风格的意义》(陆道夫、何疆锋译)。北京:北京大学出版社。
迈克尔·古列维奇,派迪·斯坎内尔(2003/2011)。赢得经典?斯图亚特·霍尔的《编码/释码》。载伊莱休·卡茨等(编),《媒介研究经典文本解读》(常江译)(第242-258页)。北京:北京大学出版社。
马歇尔·麦克卢汉(1964/2000)。《理解媒介:论人的延伸》(何道宽译)。北京:商务印书馆。
Birdsall,Carolyn(2012).Nazi soundscape:sound,technology and urban space in Germany,1933-1945.Amsterdam,NED:Amsterdam University Press.
Bull,Michael(2010).Sounding out the city:personal stereos and management of everyday life.New York,NY:Berg Publishers.
Connor,Steven(1997).The modern auditory I.In Roy Porter(Eds.).Rewriting the self:histories from Renaissance to the present(pp.203-223).London,UK:New York:Routledge.
Curtin,Adrian(2014).Avant-garde theatre sound:staging sonic modernity.New York,NY:Palgrave Macmillan.
Erlmann,Veit(2010).Reason and resonance:a history of modern aurality,New York,NY:Zone Books.
Eisenberg,Andrew J.(2015).Space.In David Novak&Matt Sakakeeny(Eds.).Keywords in sound.Durham(pp.193-207).N.C.:Duke University Press.
Fisher,Alexander J.(2014).Music,piety,and propaganda:the soundscapes of Counter-Reformation Bavaria.Oxford,UK:Oxford University Press.
Hall,Stuart(1977/1999).Encoding,decoding.In During,Simon(Eds.).The Cultural Studies Reader(pp.507-517).London,UK:Routledge.
Hesmondhalgh,David(2013).Why music matters.Chichester,UK:Wiley Blackwell.
Hirschkind,Charles(2006).The ethical soundscape:cassette sermons and Islamic counterpublics.New York,NY:Columbia University Press.
Johnson,James(1995).Listening in Paris:a cultural history.Berkeley,CA:University of California Press.
Kelman,Ari Y.(2003).Rethinking the soundscape:a critical genealogy of a key term in sound studies.Sense&Society,5(2),212-234.
Picker,John M.(2003).Victorian soundscapes.New York,NY:Oxford University Press.
Rodaway,Paul(1994).Sensuous geographies:body,sense and place.London,UK:Routledge.
Schafer,R.Murray(1977/1994).The soundscape:our sonic environment and the tuning of the world.Vermont,VT:Destiny Books.
Schulz,Dorothea E.(2012).A fractured soundscape of the divine:female“preachers”,radio sermons and religious place-making in urban Mali.In Patrick A.Desplat&Dorothea E.Schulz(Eds.).Prayer in the city:the making of Muslim sacred places and urban life(pp.239-264).Bielefeld,GER:Transcript.
Sterne,Jonathan(2003).The audible past:cultural origins of sound reproduction.Durham,UK:Duke University Press.
Truax,Barry(1984).Acoustic communication.New Jersey,NJ:Ablex Publishing Corporation.
艾米丽·汤普森(2002/2016)。声音、现代性和历史(王敦、张舒然译)。《文学与文化》,(2),95-99。
迪克·赫伯迪格(1979/2009)。《亚文化:风格的意义》(陆道夫、何疆锋译)。北京:北京大学出版社。
迈克尔·古列维奇,派迪·斯坎内尔(2003/2011)。赢得经典?斯图亚特·霍尔的《编码/释码》。载伊莱休·卡茨等(编),《媒介研究经典文本解读》(常江译)(第242-258页)。北京:北京大学出版社。
马歇尔·麦克卢汉(1964/2000)。《理解媒介:论人的延伸》(何道宽译)。北京:商务印书馆。
Birdsall,Carolyn(2012).Nazi soundscape:sound,technology and urban space in Germany,1933-1945.Amsterdam,NED:Amsterdam University Press.
Bull,Michael(2010).Sounding out the city:personal stereos and management of everyday life.New York,NY:Berg Publishers.
Connor,Steven(1997).The modern auditory I.In Roy Porter(Eds.).Rewriting the self:histories from Renaissance to the present(pp.203-223).London,UK:New York:Routledge.
Curtin,Adrian(2014).Avant-garde theatre sound:staging sonic modernity.New York,NY:Palgrave Macmillan.
Erlmann,Veit(2010).Reason and resonance:a history of modern aurality,New York,NY:Zone Books.
Eisenberg,Andrew J.(2015).Space.In David Novak&Matt Sakakeeny(Eds.).Keywords in sound.Durham(pp.193-207).N.C.:Duke University Press.
Fisher,Alexander J.(2014).Music,piety,and propaganda:the soundscapes of Counter-Reformation Bavaria.Oxford,UK:Oxford University Press.
Hall,Stuart(1977/1999).Encoding,decoding.In During,Simon(Eds.).The Cultural Studies Reader(pp.507-517).London,UK:Routledge.
Hesmondhalgh,David(2013).Why music matters.Chichester,UK:Wiley Blackwell.
Hirschkind,Charles(2006).The ethical soundscape:cassette sermons and Islamic counterpublics.New York,NY:Columbia University Press.
Johnson,James(1995).Listening in Paris:a cultural history.Berkeley,CA:University of California Press.
Kelman,Ari Y.(2003).Rethinking the soundscape:a critical genealogy of a key term in sound studies.Sense&Society,5(2),212-234.
Picker,John M.(2003).Victorian soundscapes.New York,NY:Oxford University Press.
Rodaway,Paul(1994).Sensuous geographies:body,sense and place.London,UK:Routledge.
Schafer,R.Murray(1977/1994).The soundscape:our sonic environment and the tuning of the world.Vermont,VT:Destiny Books.
Schulz,Dorothea E.(2012).A fractured soundscape of the divine:female“preachers”,radio sermons and religious place-making in urban Mali.In Patrick A.Desplat&Dorothea E.Schulz(Eds.).Prayer in the city:the making of Muslim sacred places and urban life(pp.239-264).Bielefeld,GER:Transcript.
Sterne,Jonathan(2003).The audible past:cultural origins of sound reproduction.Durham,UK:Duke University Press.
Truax,Barry(1984).Acoustic communication.New Jersey,NJ:Ablex Publishing Corporation.