Environmental sound arts are based on a long-term engagement with nonhuman subjects through disciplines such as bioacoustics, acoustic ecology, field recording, and soundscape studies. Recording and representing the sounds of animals and environmental phenomena have been essential to such practices and their archival and arts-based impact. Throughout these more-than-human histories, however, there has been a relative lack of attention given to the presence of recordists themselves.
This article endeavors to re-hear the fringe identity of the environmental field recordist and analyze the promises and threats of self-erasure. I propose a new concept , the Noisy-Nonself, as a way of understanding such an identity. It is a chimeric figuration that seeks to collapse human, animal, and technological binaries, prompt ethical critique, and ask, “ what are the consequences of hearing our own monsters?”
Mark Peter Wright, “The Noisy-Nonself: Towards A Monstrous Practice of More-Than-Human Listening.” Evental Aesthetics 6, no. 1 (2017): 24-42.