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Thesis Info

LABS ID
00937
Thesis Title
Auditory Subcultures and Sonic Flights: In Between Sound and Space
Author
Alifiyah Zulfiqar Imani
2nd Author
3rd Author
Degree
Master of Arts, Media Arts Cultures
Year
2019
Number of Pages
115 pages
University
Aalborg University
Thesis Supervisor
Morten Søndergaard
Supervisor e-mail
mortenson AT hum.aau.dk
Other Supervisor(s)
Paul Oomen
Language(s) of Thesis
English
Department / Discipline
Sound Studies, Media Arts Cultures
Copyright Ownership
Alifiyah Zulfiqar Imani
Languages Familiar to Author
English, Urdu, Hindi and Gujarati
URL where full thesis can be found
drive.google.com/drive/folders/1Jh8i5lO2-svDSyvigibdgsspQc5d-KL9?usp=sharing
Keywords
sound, space, spatial sound, auditory subculture, aural architecture, reflective practice reflection-in-action, practice-based, sonic environment, sound object, acoustics, listening, ecology
Abstract: 200-500 words
The premise for this research is to explore an approach to sound in its interaction with space and postulate how an auditory subculture with a specific approach to spatial acoustics, functions as a form of artistic inquiry in the interdisciplinary landscape of media art and technology. Tracing a historical approach to address the relationship of sound and spatiality for foundational and theoretical considerations, the larger body of work formulates as an investigation design that looks to question and identify whether the work of the primary site of this research, Spatial Sound Institute in Budapest, Hungary can be seen as an auditory subculture. The methodological perspective followed; puts media arts studies into conversations with sociological and humanists approach to technology and reflection-in-action framework. Proposed by MIT scientist Donald A Schön in his seminal work “The Reflective Practitioner”(1983), the adopted methodology situates the author as such and attempts to answer the proposed research questions through his reflection in action and organizational learning methods; contributing towards knowledge-production of sound and towards the evolving life of sonic cultural thought in a technologically mass-mediated culture that is underrepresented as seen from a media arts perspective. Moreover, the observed practitioner’s exploration in the Spatial Sound Institute development as a subject of study, draws influence from contemporary ethnographic studies to create the experience of an aural architecture by highlighting individual, social and cultural meanings of sound and practices of listening as examined through its, its founder, engineers, programmers, documentarian, artists, and the guiding directive, the ecology of listening between a myriad of different ideas and approaches.