Listening Itinerary Map
Design culture research on ecology, sound and its possible encounters, presented in the form of a non site-specific listening itinerary of a given space in which the act of listening covers more importance than the act of technological sound production. The instrument is the main sonic way we relate to a given environment.
Just as we abandon plots of landscape we must abandon the instruments in sound installations. The intention of this sound uninstallation is training a listening habit particular to each space where it is practiced, a listening tool that allows us to reflect on the ambivalence between environmentalism and ecology. It's about creating an interstice for neglected listening.
The language of sound against the omnipresence of the visual.
Why talk about sound language and not just sound? Listening is not only associated with the reception of waves by the ear, but with the act of understanding. And understanding is dealing with the uncomfortable and unusual, but specifically the uncomfortable and unusual is disabled when the sound is instrumentalized. Instrumentalizing is not only choosing sound production and diffusion technologies but above all, the result of a utilitarian attitude that makes us perceive everything as a possible resource to be exploited.
Instead, I propose a sound uninstallation.
The practice of uninstallation as un-instrumentalization of sound arises from the incentive of ecological thought. Our perception of Nature has a great contradiction: on the one hand, we mystify and preserve it and on the other, we exploit it radically. Faced with this contradiction, authors such as Timothy Morton propose to get rid of the concept of Nature. Reject the idea of Nature as something distant to us and that, because of that distance, we can visit, exploit, manage and even conserve. If we eliminate the idea of Nature, we become part, together with all kinds of entities, of the same mesh. Returning to sound, un-instrumentalization avoids recreating both the soundscaping bubble, mimicking a natural environment, that is imported to our ears through the use of technology creating a way of listening that reinforces distance.
How to reach a distance between too far and too close? According to Gilles Clément, there is an intermediate: the third-landscape, an abandoned plot, previously exploited. The absence of human impact for a time allows the resurgence of a diversity of species, very particular to the site where it is from. The distance from the human leaves enough margin to create a form of coexistence with the present surroundings.
Un-installation is a third-soundscape.