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World Forum for Acoustic Ecology

Claude Schryer, Report on The Global Composition 2018

11/24/2018

 
Picture
Photo courtesy of The Global Composition 2018
Claude Schryer (Canada)
@ssoundscapes, claude@simplesoundscapes.ca
 
I was one of the founders of the World Forum for Acoustic Ecology (WFAE) at the Banff Centre’s Tuning of the World Conference in 1993 (TOTW1993) and was honoured to participate as a facilitator at The Global Composition 2018 (TGC2018). I mentioned at the opening event of TGC2018 that it was the interdisciplinary and exploratory nature of acoustic ecology that motivated me to help create the WFAE. Much has been accomplished by the WFAE over 25 years – thanks are in order - but what comes next? One of the goals of TGC2018 was to take stock of these 25 years of activity and to lay groundwork for future generations...
 
Some personal highlights and thoughts from TGC2018:
  • Recalling the early history of the WFAE: 1991, first World Soundscape Project newsletter; 1993, founding of an international coalition of acoustic-ecology specialists at Tuning of the World and 1998, Stockholm Hey Listen! conference with the creation of national affiliates and the Soundscape Journal
  • Acknowledging WFAE trailblazers, notably Nigel Frayne, Hildegard Westerkamp, Peter Grant, Gary Ferrington and Gayle Young and pioneers in the community such as the WFAE life member Walter Tilgner (attributed October 6, 2018)
  • Remembering that the World Soundscape Project addressed noise issues by encouraging listening, analysis and new modes of design and that we now need to encourage the next generation to tackle acoustic ecology on their own terms and to adapt core concepts to new realities
  • Encouraging ongoing dialogue about what is relevant in acoustic ecology, such as increasing accessibility, diversifying voices, mobilizing knowledge, rethinking the concept of noise, retooling listening, increasing networking opportunities, better communication of core messages, coordination of volunteers to undertake tasks, etc.
  • Exploring emerging concepts, such as queering sound space, crafting 3D audio, connecting sound in a synthetic ecology, criticizing romanticism in soundscape studies, rethinking stereotypes in gaming … and sharing these findings broadly
TOTW1993 was an initial mobilisation of the global acoustic ecology community, whereas TGC2018, and other similar events, are steps towards broadening this community into a listening and sounding culture.

Juliana Carla Bastos, Report on The Global Composition 2018

11/24/2018

 
Picture
Photo courtesy of The Global Composition 2018
 Juliana Carla Bastos (Brazil)
@laboratoriodesons, julianacarlabastos@gmail.com
 
Gathering the discussions and yearnings of three generations of acoustic ecology scholars, the The Global Composition 2018 (TGC2018) was an opportunity to broaden and deepen our understandings on the diversity of listening, an experience framed by the impressive silence of the Mediencampus of Dieburg.
 
Some aspects evoked during the four days of TGC2018 that are worth mentioning are:
  • How the Global North/South situation stood during the plenary sessions and also in the papers highlighting features, tendencies and gaps on valuation and legitimization of listenings closely connected to historical, cultural, political and human aspects of each country/region participating in the event.
  • To consider the participation of scholars of urbanism as potential allies in the maturation and constant resignification of the global acoustic ecology studies.
  • In order to extend the applicability of the Schaferian legacy, it is necessary to consider listening more as a politicized act: an invitation for acoustic ecologists to contemplate what is done with this listening. This goes through the comprehension of symbolic and decolonial dimensions, trans-sonifying the act of listening from a mere act of servitude and/or curiosity into a tool that facilitates the constitution and maintenance of holistic consciousness.
  • Finally, including contemporary gender discussions and reports of victims of noise pollution, among others, opens space for unique and important opportunities to learn about the specificities of listening and helps scholars in the area to use and resignify scientific instruments in order to capture, understood and show good and real results.
 
These are some notes on the TGC2018 that aim not only to contribute to the acoustic ecology initiatives initiated in Tuning of the World 1993, but also to discover ways of approaching the area in a diverse world and in need of discussions and studies about the sonorous that surrounds us and defines us as human beings.

WFAE Announces Honorary Membership of Biologist, Walter Tilgner

11/18/2018

 
Picture
Walter Tilgner presents keynote "Listen to Nature" in The Global Conference 2018 conference on sound, ecology, and media culture—Photo courtesy of The Global Composition 2018
On October 7, 2018 biologist and nature sound recordist Walter Tilgner received an honorary lifetime membership in the World Forum for Acoustic Ecology (WFAE). As one of the keynote speakers in The Global Composition 2018 conference on sound, ecology, and media culture, Tilgner gave an impressive presentation titled, “Listen to Nature.” Upon its conclusion,  WFAE President, Eric Leonardson presented the honor:
Dear Walter, On behalf of the World Forum for Acoustic Ecology in recognition of your lifetime of achievement in nature sound recording, for the great contribution this makes in scientific research and public enjoyment both, we would like to honor you as an Honorary WFAE member. I hope you accept our offer and thanks and enjoy being a member of our global network.
Born 1934 in the town of Olomouc, now a part of the Czech Republic, Tilgner worked as an ornithologist and photographer since the 1950s. From 1981 until 2012 he was employed at the Bodensee-Naturmuseum in Konstanz, Germany. Now in retirement Tilgner remains active raising awareness on the changing soundscape of Europe's natural environments.

Tilgner’s earliest published tape recordings date from the 1970s. With the advent of digital recording and Neumann microphones for binaural recording, in the late 1980s he achieved his long sought goal of producings recordings of great spatial depth and clarity representing the rich fabric of wildlife in the forests, lakes, marshes, and meadows of the region. His stunning recordings are part of the Programmarchiv of the European Acoustic Heritage project. Many of Tilgner’s other historic releases are in WERGO's Natural Sound series. A self-help book for hearing loss and related disorders, including a CD with Tilgner's audio recordings, is titled, Hören im Gleichgewicht (Listening in Balance), published by Vesalius Verlag. To order this book, to listen and to learn more, visit Tilgner’s website where you can also link to his recordings on Spotify and iTunes.

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  • Home
  • ABOUT
    • WFAE Board
    • Endorsed Events
    • Bylaws
    • In Memoriam
  • Membership
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    • Individual Membership
  • News
  • WFAE 2023 Conference
  • LIBRARY
    • Old Newsletters (1991-2015)
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