Bus22; SF Audiobook(2021)
The book includes one and a half years of artistic practice and research on sonic experiences and Sci-fi audio fiction: Bus 22.
The research starts off from a first-person perspective – myself; what am I listening to now? The surrounding soundscapes is represented by sound notations in an explicit form and explored through listening performances in order to understand the structure of hearing in a philosophical way.
Then, the thesis shows how the writer’s interest moved to ‘the other’ (second or third person perspective) with the question: What is I’m listening to and how is it different to what you’re hearing? This brings forth the element of fiction by which a third person’s sonic experience is revealed.
Bus 22 is an audio-playback of a fictional story with visual instructions. It is based on two main aspects; Anamnesis: mnemo-perceptive effects, and Voice in thoughts: storytelling. Finally, the thesis talks about the encountered difficulties during research and making processes. The conclusion encompasses the value of perceived and narrative based sound arts.
Although this taxonomy can be effectively applied for the purpose of communicating acoustic knowledge, the classification is difficult to erase ambiguity.
The research starts off from a first-person perspective – myself; what am I listening to now? The surrounding soundscapes is represented by sound notations in an explicit form and explored through listening performances in order to understand the structure of hearing in a philosophical way.
Then, the thesis shows how the writer’s interest moved to ‘the other’ (second or third person perspective) with the question: What is I’m listening to and how is it different to what you’re hearing? This brings forth the element of fiction by which a third person’s sonic experience is revealed.
Bus 22 is an audio-playback of a fictional story with visual instructions. It is based on two main aspects; Anamnesis: mnemo-perceptive effects, and Voice in thoughts: storytelling. Finally, the thesis talks about the encountered difficulties during research and making processes. The conclusion encompasses the value of perceived and narrative based sound arts.
Although this taxonomy can be effectively applied for the purpose of communicating acoustic knowledge, the classification is difficult to erase ambiguity.
