Listening to Antarctica: Cheryl E. Leonard’s eco-acoustic creative practice
Listening to the more-than-human world has been a source of musical creativity for centuries, but what does it mean to listen and respond creatively to the world around us in the Anthropocene? This article contributes to a growing body of research on sonic representations of Antarctica, a place ofte...
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ftunivtasmania:oai:eprints.utas.edu.au:36812 2023-05-15T13:31:52+02:00 Listening to Antarctica: Cheryl E. Leonard’s eco-acoustic creative practice Meyers, R Philpott, C 2021 application/pdf https://eprints.utas.edu.au/36812/ https://eprints.utas.edu.au/36812/1/143021%20-%20Listening%20to%20Antarctica.pdf en eng Charles Sturt University https://eprints.utas.edu.au/36812/1/143021%20-%20Listening%20to%20Antarctica.pdf Meyers, R and Philpott, C orcid:0000-0002-5778-5748 2021 , 'Listening to Antarctica: Cheryl E. Leonard’s eco-acoustic creative practice' , Fusion Journal, vol. 19 , pp. 64-77 . Cheryl E. Leonard Antarctica listening Anthropocene Article PeerReviewed 2021 ftunivtasmania 2021-07-05T22:16:33Z Listening to the more-than-human world has been a source of musical creativity for centuries, but what does it mean to listen and respond creatively to the world around us in the Anthropocene? This article contributes to a growing body of research on sonic representations of Antarctica, a place often viewed as a barometer of anthropogenic climate change. Although explorers and scientists have visited the icy continent for over a century, it is only in the past 25 years that composers and sound artists have had direct access to listen to the human and non-human sounds of Antarctica and capture them in creative works.Using composer Cheryl Leonard’s multimedia work Fluxes (2014) as a case study, this article investigates how Leonard’s eco-acoustic compositional practices reflect her listening experiences in Antarctica. We will highlight aspects of Leonard’s creative practice that contribute to her complex exploration of non-hierarchical relations between the human and non-human, and how she formulates non-dualistic relationships between nature, the human and technology in her imaginations of the natural world, including through her innovative employment of natural materials and her use of technology in the gathering of sounds and in live performance. Article in Journal/Newspaper Antarc* Antarctica University of Tasmania: UTas ePrints |
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Open Polar |
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University of Tasmania: UTas ePrints |
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ftunivtasmania |
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English |
topic |
Cheryl E. Leonard Antarctica listening Anthropocene |
spellingShingle |
Cheryl E. Leonard Antarctica listening Anthropocene Meyers, R Philpott, C Listening to Antarctica: Cheryl E. Leonard’s eco-acoustic creative practice |
topic_facet |
Cheryl E. Leonard Antarctica listening Anthropocene |
description |
Listening to the more-than-human world has been a source of musical creativity for centuries, but what does it mean to listen and respond creatively to the world around us in the Anthropocene? This article contributes to a growing body of research on sonic representations of Antarctica, a place often viewed as a barometer of anthropogenic climate change. Although explorers and scientists have visited the icy continent for over a century, it is only in the past 25 years that composers and sound artists have had direct access to listen to the human and non-human sounds of Antarctica and capture them in creative works.Using composer Cheryl Leonard’s multimedia work Fluxes (2014) as a case study, this article investigates how Leonard’s eco-acoustic compositional practices reflect her listening experiences in Antarctica. We will highlight aspects of Leonard’s creative practice that contribute to her complex exploration of non-hierarchical relations between the human and non-human, and how she formulates non-dualistic relationships between nature, the human and technology in her imaginations of the natural world, including through her innovative employment of natural materials and her use of technology in the gathering of sounds and in live performance. |
format |
Article in Journal/Newspaper |
author |
Meyers, R Philpott, C |
author_facet |
Meyers, R Philpott, C |
author_sort |
Meyers, R |
title |
Listening to Antarctica: Cheryl E. Leonard’s eco-acoustic creative practice |
title_short |
Listening to Antarctica: Cheryl E. Leonard’s eco-acoustic creative practice |
title_full |
Listening to Antarctica: Cheryl E. Leonard’s eco-acoustic creative practice |
title_fullStr |
Listening to Antarctica: Cheryl E. Leonard’s eco-acoustic creative practice |
title_full_unstemmed |
Listening to Antarctica: Cheryl E. Leonard’s eco-acoustic creative practice |
title_sort |
listening to antarctica: cheryl e. leonard’s eco-acoustic creative practice |
publisher |
Charles Sturt University |
publishDate |
2021 |
url |
https://eprints.utas.edu.au/36812/ https://eprints.utas.edu.au/36812/1/143021%20-%20Listening%20to%20Antarctica.pdf |
genre |
Antarc* Antarctica |
genre_facet |
Antarc* Antarctica |
op_relation |
https://eprints.utas.edu.au/36812/1/143021%20-%20Listening%20to%20Antarctica.pdf Meyers, R and Philpott, C orcid:0000-0002-5778-5748 2021 , 'Listening to Antarctica: Cheryl E. Leonard’s eco-acoustic creative practice' , Fusion Journal, vol. 19 , pp. 64-77 . |
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1766021586290212864 |