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  1. 10 教育文化学部(含:旧教育学部)
  2. 10B 本学紀要
  3. 10B1d 秋田大学教育文化学部研究紀要 人文科学・社会科学
  4. 第73集

ティム・インゴルドの反サウンドスケープ論 ー音と光、サンドスケープとランドスケープ ー

https://doi.org/10.20569/00003486
https://doi.org/10.20569/00003486
f738d18b-7601-4a12-9eee-7020e25c0125
名前 / ファイル ライセンス アクション
kbj73(11).pdf kbj73(11) (1.7 MB)
Item type 紀要論文 / Departmental Bulletin Paper(1)
公開日 2018-03-07
タイトル
タイトル ティム・インゴルドの反サウンドスケープ論 ー音と光、サンドスケープとランドスケープ ー
その他のタイトル
その他のタイトル Rethinking Ingold’s ‘Against Soundscape’: Six Problems with Ingold’s Four Objections to the Concept of Soundscape
言語
言語 jpn
主題
主題Scheme Other
主題 Tim Ingold
主題
主題Scheme Other
主題 Soundscape
主題
主題Scheme Other
主題 Sound
主題
主題Scheme Other
主題 Landscape
主題
主題Scheme Other
主題 Light
資源タイプ
資源タイプ識別子 http://purl.org/coar/resource_type/c_6501
資源タイプ departmental bulletin paper
ID登録
ID登録 10.20569/00003486
ID登録タイプ JaLC
作成者 和泉, 浩

× 和泉, 浩

和泉, 浩

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IZUMI, Hiroshi

× IZUMI, Hiroshi

en IZUMI, Hiroshi

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内容記述
内容記述タイプ Other
内容記述 The purpose of this paper is to consider Tim Ingold’s four objections to the concept of The purpose of this paper is to consider Tim Ingold’s four objections to the concept of soundscape, in order to reconsider the concept of soundscape in relation to the concepts of light, sound, landscape, related to sound studies, study of visual culture and auditory culture. Ingold thinks ‘the concept of sound scape would be better abandoned’ based on the four reasons.   This paper points out six problems with Ingold’s objections. (1) Ingold defines sound as ‘I can hear’ depending on Maurice Merleau-Ponty’s phenomenology and he also situates sound as ‘medium’, but he does not explain the relationship between Merleau-Ponty’s ‘il y a’ and James Gibson’s ‘medium’. ‘il y a’ and ‘medium’ are different. (2) Phenomenological existential conditions are fundamental in a sense, but cultural, social and historical contexts or conditions of sound, light and ontology should be considered. (3) Sound and light have different aspects. (4) His strong nostalgia for nature and past causes narrowing experiences of sound and soundscape. (5) Although he criticizes the confusion of ‘scape’ with ‘scope’, he confuses them in his argument. (6) One can explain nothing in the pure fluxes of medium, distinctions must be made to say something.oundscape, in order to reconsider the concept of soundscape in relation to the concepts of light, sound, landscape, related to sound studies, study of visual culture and auditory culture. Ingold thinks ‘the concept of sound scape would be better abandoned’ based on the four reasons.   This paper points out six problems with Ingold’s objections. (1) Ingold defines sound as ‘I can hear’ depending on Maurice Merleau-Ponty’s phenomenology and he also situates sound as ‘medium’, but he does not explain the relationship between Merleau-Ponty’s ‘il y a’ and James Gibson’s ‘medium’. ‘il y a’ and ‘medium’ are different. (2) Phenomenological existential conditions are fundamental in a sense, but cultural, social and historical contexts or conditions of sound, light and ontology should be considered. (3) Sound and light have different aspects. (4) His strong nostalgia for nature and past causes narrowing experiences of sound and soundscape. (5) Although he criticizes the confusion of ‘scape’ with ‘scope’, he confuses them in his argument. (6) One can explain nothing in the pure fluxes of medium, distinctions must be made to say something.
出版タイプ
出版タイプ VoR
出版タイプResource http://purl.org/coar/version/c_970fb48d4fbd8a85
書誌情報 秋田大学教育文化学部研究紀要 人文科学・社会科学
en : Memoirs of Faculty of Education and Human Studies, Akita University. The humanities & the social sciences

巻 73, p. 11-21, 発行日 2018-02-23
ISSN
収録物識別子タイプ ISSN
収録物識別子 2433-4979
NCID
収録物識別子タイプ NCID
収録物識別子 AA12812348
出版者
出版者 秋田大学教育文化学部
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