{"id":{"repo_id":"arts-london","oai_identifier":"oai:ualresearchonline.arts.ac.uk:8662"},"canonical_url":"https://search.dev.ndltd.org/etd/arts-london/oai:ualresearchonline.arts.ac.uk:8662","repository":{"repo_id":"arts-london","name":"University of the Arts London","base_url":"https://ualresearchonline.arts.ac.uk/cgi/oai2"},"display":{"title":"Contact Zones and Elsewhere Fields: The Poetics and Politics of Environmental Sound Arts","abstract":"How is agency distributed “in the field” and how can the practice of field recording critically manifest the relationship between humans and non-humans? This thesis posits an original art practice of field recording based on a perspective I am calling “Inter-agential”. Employing the self-reflexive anthropological turn of the 1970’s as parallel critique throughout, I argue environmental sound art has ignored the politics of observer-subject relations and instead engaged place and sound through divisive legacies of conservation and composition. I propose a hybrid conceptual framework from contemporary sound and anthropological studies that foregrounds issues relating to ethics, agency and representation. These subjects are examined in practice by converting “the field” into a collaborative and contested arena for intervention and performance. The result is a unique and formally diverse body of work that seeks to actively disrupt, critique and re-imagine the ontological foundations of field recording through an original and politicised aesthetics. All practice-based experimentation has been conducted in one fixed location along the North-East Coast of England called South Gare. It is an industrial and ecologically embroiled site, both in terms of its history and present day impact. I situate this site-specific setting through artistic legacies found in Land Art. 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These subjects are examined in practice by converting “the field” into a collaborative and contested arena for intervention and performance. The result is a unique and formally diverse body of work that seeks to actively disrupt, critique and re-imagine the ontological foundations of field recording through an original and politicised aesthetics. All practice-based experimentation has been conducted in one fixed location along the North-East Coast of England called South Gare. It is an industrial and ecologically embroiled site, both in terms of its history and present day impact. I situate this site-specific setting through artistic legacies found in Land Art. 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