One of the resources included in our reading/listening this week was the Soundmap from Rhode Island. After clicking through a dozen or so places around the tiny New England state, my first reaction was “Meh. So what’s the worth?” I appreciated the concept, and thought its interface within Google Maps was accessible, but I had difficulty articulating its worth. My next thought was, as close to verbatim as I recall, “I’m sure it matters to Rhode Islanders, but it’s not unique; Georgia/Atlanta has a similar project , and so did Michigan.”
I was immediately struck by a wave of homesickness for Michigan, went to its Sounds of the State page, and found the sound closest to where I lived, a lone blue dot in East Lansing titled “MSU Medley.” My ears drank in ducks on the babbling Red Cedar River, Beaumont Tower’s distant carillon bells, and the route announcement of a CATA bus. I was immediately resituated from my desk here in Smyrna to the riverside between the Hannah Administration building and Wells Hall, my feet dangling over the water and ducks pulling at my shoelaces because I was too slow in crumbling up the stale bread I’d taken from Brody Hall’s cafeteria earlier that morning.
That soundscape has become part of my experience, and will always be one of the places I can situate myself. I was there. That has meaning to me. I spent a few more minutes clicking around the sounds back in Michigan, smiling and nodding at a few that resonated, and shrugging at some that had no significance. And so it must be for people living in Rhode Island. Whether they’re down the road or across the world from Narragansett, sounds from its shores, piers, and streets situate them in their experienced places. These sound maps are worth more than their appeal to listeners outside the covered region, more than a digital drinking glass held up to a door for auditory voyeurs; these sounds are, for the residents, communication that carries something much more than the surface level detail. This is auditory composition, and it is a composition that is acutely aware of its authorship, its audience, and its message.
Somewhat briefer, I’d also like to acknowledge Jessica Barness’ Common Sounds project. Rather than letting the audience be just the audience, Barness invites them to take control of a handful of layerable soundtracks. I’m sure my progression through this was just like anyone else’s: try each sound individually, shrug and say okay. Then it was time to layer ALL the sounds! I, like everyone else who tried it did probably did, winced as the layers grew into an inarticulate cacophony. I resisted closing the window and I found that my auditory processing was up to the task, no matter how distasteful. My mind quickly organized the sounds into a unified piece that had rhythm and melody, even if a little too eccentric for my usual listening tastes. What occurred to me next was that I was listening to an entirely unique piece; each sound was playing in the order I layered it, which of course was situated differently in time to the sounds already playing and those yet to be added. Likely no one else (or at least very few others) chose the exact order and relative timing of the layers I did. I didn’t let it play long, but I enjoyed the tasks both of listening to the whole, and mentally isolating the individual layers while the rest continued to play.
I’d like to share a similar flash app with the class called The Chrome Project (although it should work well in any browser). I’ll leave it to you to figure out, but I think you’ll find the same sort of self-crafted aurality here, and the same challenges in contextualizing and isolating the different sounds. I hope you enjoy the process of tweaking and refining your compositions.
With this week, we appear to be leaving behind the section of the course that has been the most enlightening to me so far. We’ve established that I’m now acutely aware of the fact that composition is a term much broader in scope and content than just writing. Not wanting to make the same mistake I did when we first began our talk of interface and the visual in composition, I kept my mind open regarding aural composition. What I’m left with now is the idea that perhaps composition is better (if somewhat muddily) defined as manipulable communication. Whether we’re engaging in verbal/written, a verbal/spoken, visual, or auditory communication, it is still communication we’re wholly in control of, both in form and content.
A few years ago, during my MA composition pedagogy course, we were asked to craft our teaching philosophies. Most of what I wrote now seems situated perfectly to where I was in my still very rudimentary thoughts on the teaching of composition, a plucky manifesto filled with vague affirmations of responsibility, open communication, and grammar vs. content. It wasn’t all together myopic, but it also wasn’t altogether well-informed. I’ve since discarded that statement, but have referred to it multiple times since, using it as a sort of mile marker in my pedagogical maturation. Most of what it contained is useless to me now, but as time progressed, one cogent, critical statement emerged from the detritus:
My specialty is my passion: writing. The written word is a pure form of discourse, no matter the writer or the audience. Writing provides the author the opportunity to present his or her most considered representation of their thoughts, their identities, and their beliefs. Each word, each thought can be chosen amidst a myriad of alternatives. Each such choice in expression gently shapes a writer’s voice, leaving a unique fingerprint on every work they undertake throughout time.
It’s been tweaked and remediated several times, but the core of what I wrote remains the same (and, oddly enough, its current form above appears on my LinkedIn page, of all places).
So, with my recent revelations in the visual and auditory realms of composition, now it’s time to consider revising it yet again. I come back to the thought of composition as manipulable communication. So long as the author/artist has control of a medium and a message to send, they’re composing. While I may personally have a particular passion for writing, I will do well to at least mentally swap in “composition” for “writing” in my teaching philosophy.
2 thoughts on “8900: Emergent Aurality”
“That soundscape has become part of my experience, and will always be one of the places I can situate myself. I was there. That has meaning to me.”
This quotation from your blog seems to leave room for one to question, broadly, the ways in which our digital environment can transport us, instantaneously, to places that we often feel we have left behind in our daily lives. Without getting on an airplane, you were immersed in that world in a manner that would have been impossible just a few years ago. Or am I wrong? A few years ago, maybe we couldn’t do it ourselves with a computer. Perhaps it took a phone call from someone who was a part of our past to transport us there.
I wouldn’t say you’re wrong, although we certainly have had the ability to aurally relocate for decades through radio, telephonics, and film. You’re right that this provides a different and far more personal vector; ten-fifteen years ago, there would have been no way to have so many different soundscapes so accessible to so many and so easily. What makes this better or more personal is that just like for me, each of these points on sounds maps is an opportunity for a native of the community to experience that same sense of anchoring. Every other point on the map may sound interesting, but this one I click here is a community or environment I know intimately. Presumably, everyone who’s left Michigan and can find a related point to click could feel that same attachment.