More and more, knowledge of the world around us comes through hearing (Schafer 1992). While sight, privileged until now, has been able to develop highly sophisticated tools and techniques to store, manipu- late and interpret perceived data, hearing is still “in its infancy” in its approach to the world (Mayr 2014). In fact, the soundscape is still struggling with tools and methods of verification (Mayr 2014) alt- hough, because of this vagueness, it stands out as an interesting field of multidisciplinary investigation (Rocca 2012; Rocca 2013; Galassetti Galfetti, Rocca, 2014; Rocca 2013). In outlining a synthetic, functional, theoretical framework to delineate the key concepts which will be de- veloped in this research project, it is very useful to remember the “Ca- reggi Landscape Declaration on Soundscape” which, referring to the European Landscape Convention, defines soundscape as: «The acoustic properties of any landscape in relation to the percep- tion of a specific species . . . [are] the result of phenomena and dynam- ics which are physical (geophonic), biological (biophonic) and human (anthrophonic)» (UNISCAPE, 2012). The acoustic property has within itself a more objective compo- nent (measurable and comparable in terms of noise pollution) as well as a more subjective one (directly anchored in the perception of the individual and the community, and so in the very concept of “land- scape”). Recalling this duality, the geographer Geneva Raffesten (2007) highlights the distinction between territory – «material reality», a result of continuous changes, subject to recurrent alteration – and landscape, defined as: «immaterial reality which, by contrast, is the result of a pro- cess of mental production, originating from a human gaze, in turn me- diated by different languages . . . the expression of a break in time: it is a “snap-shot”» (Raffestin 2007). To understand the territory (geostructure), it is therefore necessary to: «acquire images representing the equipment which allows for an exploration of reality» (Raffestin 2007). Thus, there is a «mediated rela- tionship», through sound, between man and his environment (Tuan 1990).

Viaggio tra ritmi visibili ed invisibili. I treni in Canton Ticino

Lorena Rocca
2019

Abstract

More and more, knowledge of the world around us comes through hearing (Schafer 1992). While sight, privileged until now, has been able to develop highly sophisticated tools and techniques to store, manipu- late and interpret perceived data, hearing is still “in its infancy” in its approach to the world (Mayr 2014). In fact, the soundscape is still struggling with tools and methods of verification (Mayr 2014) alt- hough, because of this vagueness, it stands out as an interesting field of multidisciplinary investigation (Rocca 2012; Rocca 2013; Galassetti Galfetti, Rocca, 2014; Rocca 2013). In outlining a synthetic, functional, theoretical framework to delineate the key concepts which will be de- veloped in this research project, it is very useful to remember the “Ca- reggi Landscape Declaration on Soundscape” which, referring to the European Landscape Convention, defines soundscape as: «The acoustic properties of any landscape in relation to the percep- tion of a specific species . . . [are] the result of phenomena and dynam- ics which are physical (geophonic), biological (biophonic) and human (anthrophonic)» (UNISCAPE, 2012). The acoustic property has within itself a more objective compo- nent (measurable and comparable in terms of noise pollution) as well as a more subjective one (directly anchored in the perception of the individual and the community, and so in the very concept of “land- scape”). Recalling this duality, the geographer Geneva Raffesten (2007) highlights the distinction between territory – «material reality», a result of continuous changes, subject to recurrent alteration – and landscape, defined as: «immaterial reality which, by contrast, is the result of a pro- cess of mental production, originating from a human gaze, in turn me- diated by different languages . . . the expression of a break in time: it is a “snap-shot”» (Raffestin 2007). To understand the territory (geostructure), it is therefore necessary to: «acquire images representing the equipment which allows for an exploration of reality» (Raffestin 2007). Thus, there is a «mediated rela- tionship», through sound, between man and his environment (Tuan 1990).
2019
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