Space, Body & Resonance

ENG:

Exploratory Project – CICANT

Urban sound is an invisible layer of the city that can bring valuable information to planners and architects. Interactive technologies, such as sound maps, allow a deeper understanding of the composition of urban spaces and provide new tools for sound analysis. For certain purposes, such as noise pollution analysis, they can be extremely valuable. However, they must also represent the listening experiences of those communities. Making the inhabitants part of this mapping process is, therefore, central to the project that we present here.

Nowadays cartographic media are widely used for both qualitative and quantitative representation of ambient sound, allowing a connection between the acoustic components and the space in which they are emitted.

We know, however, that most users of these platforms are people who, from the start, have a more or less deep knowledge of phonography, which often reveals a normative approach that prioritizes high-fidelity in field recording, often restricted to a circle of experts. But a sound map does not have to be merely documentary or archivist, it can also contribute to reveal relationships between people and their places, through listening, recording and sound (re) production.

Until now, the Lisbon Soundmap, like many other urban sound maps, has privileged public and collective space, with particular emphasis on sound landmarks, leaving aside the domestic and private space, which is also an inexorable part of the connection to the city.

OBJECTIVE

The Lisbon Soundmap aims to become an embracing tool, useful to professionals involved in the design and planning of the city, encompassing a wide variety of sounds and approaches. It is urgent to think about how the public interacts with the map, making it part of the collective and critical discussion about the urban environment.

In this sense, the proposal that we present here involves participatory actions aimed at the community, in particular schools in the zones analyzed by the Aural Experience, Territory, and Community project, which were, Alvalade and Belém.

PROGRAM

Training and Awareness Actions: awareness actions for the sound environment will be developed where participants will have contact with the universe of field sound recording, which will allow them, using their own mobile phones and accessible sound recorders, to capture and express the acoustic identity of their community. The following methods will be used:

  1. Sound walks in order to identify sound landmarks, increasing their awareness about the sound that surrounds them;
  2. In a school context, in both places, listening and sound recording workshops will be developed where students will reflect on the sound identity of their context and learn how to record sounds;
  3. Elaboration of sound diaries, by the young students of each place that allow to map daily life. Some university students will conduct surveys with young people in both places;
  4. Creation of two sound kiosks in partnership with the design area and the electrotechnics. The kiosk is a small piece of furniture to be placed in “juntas de freguesia” (Belém and Alvalade) with a map of the zone, sensors and headphones. This kiosk will evolve to fully digital;
  5. Introduction of these elements on the lisbonsoundmap website and blog.

PT:

O som urbano é uma camada invisível da cidade que pode trazer informações valiosas aos planeadores e arquitetos. As tecnologias interativas, como os mapas sonoros, permitem aprofundar o entendimento sobre a composição dos espaços urbanos e providenciar novas ferramentas de análise sonora. Para determinados objetivos, como a análise da poluição sonora, eles podem ser extremamente valiosos. No entanto, devem também representar as experiências de escuta dessas comunidades. Envolver os habitantes neste processo de mapeamento é, por isso, central ao projeto que aqui apresentamos. 

Hoje em dia os meios cartográficos são amplamente utilizados tanto para a representação qualitativa como quantitativa do som ambiente, permitindo fazer uma ligação entre os componentes acústicos e o espaço em que são emitidos.

Sabemos, no entanto,  que a maior parte dos utilizadores destas plataformas são pessoas que possuem, desde logo, um conhecimento mais ou menos profundo de fonografia o que muitas vezes revela uma aproximação normativa que prioriza a alta-fidelidade na gravação de campo, muitas vezes restrita a um círculo de especialistas. Mas um mapa sonoro não tem de ser meramente documental ou arquivista, pode também contribuir para revelar relações entre as pessoas e os seus lugares, através da escuta, da gravação e da (re)produção de som.

Até agora, o Lisbon Soundmap, à semelhança de muitos outros mapas sonoros urbanos, tem privilegiado o espaço público e coletivo, com particular ênfase nos marcos sonoros, deixando de lado o espaço doméstico e privado, que é também uma parte inexorável da ligação à cidade.

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