Introduction
Climate change remains a pressing global challenge, indicating the need for a collaborative effort to address the problem. The Paris Agreement was the first milestone recognizing the importance of a global shift in how people think and act towards nature (Rainforest Listening, 2020, para 1). Ecological activism has changed the way people interpret information and deal with their surroundings. Artists turned communication media into their art broadcasting in the second half of the 20th century. In the process, art, activism, and media essentially reconfigured each other at a distance (Chandler and Neumark, 2005). Polli (2012, p. 257) has examined listening as an alternative pathway to comprehending communication. The author has also compared the writings, research, and creative works of multiple acoustic ecology movement leaders to provide more potential for their literary works.
A critical focus on the projects of acoustic ecology pioneers, such as Hildegard Westerkamp, Murray Schafer, and Bernie Krause, has facilitated the modification and sonification of inaudible signals. Polli (2012, p. 258) co-founded the New York Society of Acoustic Ecology in 2003 to develop a data sonification model based on the soundscape. The development laid the foundation for the creation of the Sound Seeker and NYSoundmap projects. The World Forum of Acoustic Ecology (WFAE) was formed in 1993 by a group of artists concerned with sound in the world (Bandt and Barclay, 2017, p. 94). The paper illustrates that ecological activism in sound art; and the use of technology in advocacy will promote positive actions toward conserving nature.
The Importance of Ecological Activism in Sound Art
Ecological activism has escalated in recent years to conserve the environment. It refers to the socio-political engagements aimed at preventing environmental degradation (Kraja, 2018, para 1). Human activities harming the environment, such as deforestation and the practices leading to greenhouse gas emissions, have escalated in recent years (European Environment Agency, 2019; The United States Environmental Protection Agency, 2020). Advocacy programs creating awareness about the nature and consequences of global warming and climate change are required to sensitize people and corporations to make positive changes. Sound art activism is a unique form of advocacy, using sound to make people listen to the environment, reflect, and gather the courage to promote a shift towards environmentally responsible behaviors (Rainforest Listening, 2020, para 1). The new campaign form is yet to be exploited fully, indicating a considerable potential to address the climate change problem facing the world today.
Acoustic ecology pioneers developed WFAE’s mission of promoting education about soundscape and sharpening aural awareness, which remains relevant today. The organization must collaborate with more partners to deepen listeners’ comprehension of environmental sounds and their meanings. New artists, such as Ros Bandt and Pauline Oliveros, have expounded human perspectives on sound, making acoustic ecology more critical today than in the founding days (Bandt and Barclay, 2017, p. 94). William Ernest, an American environmentalist, views artists as the antibodies of the cultural bloodstream and agents of social change (Barclay, 2013, p. 29). Ecological activists help to trace acoustic ecology developments over the years and the benefits to society. Recent studies indicate that sound artists need better tools to connect communities in a way that addresses the most significant challenges of the 21st century, such as climate change. Barclay (2013) believes that the acoustic environment is easily accessible and contains social engagement potential. As such, it can encourage communities to engage in activities promoting environmental conservation.
Listening through formal and informal exercises, such as public soundwalks, contributes significantly to social and environmental awareness. It also promotes change through cultural and social practices (Polli, 2012). Therefore, ecological activism in sound art is crucial to understanding better how communication influences communities. Sound artists, such as Leah Barclay and Ros Bandt, have mentored each other and collaborated on different projects, contributing significantly to ecological activism in sound art. For instance, Bandt mentored Barclay in her early works in acoustic ecology, creating a foundation for later collaborations in multiple projects, such as large-scale outdoor performances and digital platforms for sound culture (Bandt and Barclay, 2017, p. 94). In the process, sound artists learned from and empowered each other significantly. The artists’ joint works have also shaped sound art ecological activism as a new environmental conservation strategy. Building on current activists’ successes, future performers can inspire coming generations to behave in ways that protect nature.
Ecological activism in sound art has resulted in the emergence of critical issues and concerns. For instance, Ursula Franklin elaborated on the importance of keeping the sonic environment as a public commons (Bandt and Barclay, 2017, p. 95). Meetings to discuss sound have also led to the emergence of ecological activism groups and organizations. For instance, WFAE was formed in 1993 by a group of people from different countries discussing sound in the world (Chandler and Neumark, 2005). Ros Bandt, Leah Barclay, Pauline Oliveros, Murray Schafer, Hildegard Westerkamp, Keiko Torigoe, and Barry Truax are some of the sound artists who attended the meeting forming the group (Bandt and Barclay, 2017, p. 95). The organization was a part of a political scheme to internationalize acoustic ecology. As a global campaign, sound art ecological advocacy indicates the unique power of sound to influence people in different communities. However, environmental activism in settings with people from across the world has elicited mixed feelings and misconceptions. For example, Bandt wondered whether it was essential to carve sound off from other senses. Joint meetings have also revealed the acoustic ecology differences in multiple settings. While the Western ideas of acoustic ecology are mooted as an interdisciplinary science, the aboriginal Dreamtime works on reciprocity and takes time to diffuse to the population (Bandt and Barclay, 2017). Using different sounds in various communities can create more effective environmental connections. Matching sound artists with their communities can create more useful links between people and their environments, leading to positive social change.
The differences between the western and aboriginal acoustic ecology ideas challenged Bandt to rethink his attitude to sound. It also influenced the way he developed a massive installation using harps in a sacred site where UNESCO listened to the locals under the stars for several days (Bandt and Barclay, 2017). The performer learned that the aeolian harps’ sound can unite multiracial groups. Therefore, a musical sound can create melodies and harmonies that people would enjoy despite their cultural or racial backgrounds. Ecological activism has helped artists to reveal the failures of western knowledge about the world. According to Barclay (2013, p. 29), the developed nations have not realized that the world is for the hearing and not the beholding. The westerners have also failed to recognize that information is audible and not legible. Artists are combining electroacoustic music with natural sounds to create awareness and connection with the environment.
Leah Barclay claims to be fascinated by sound, which is critical to the understanding of her standpoint on ecological activism. She started studying music at an early age and always felt restricted by Western classical music (Bandt and Barclay, 2017, p. 96). Leah’s instrumental and chamber music features sounds within and from water as a composer inspired by the environment. She was also involved in environmental conservation activities for many years.
The artist composes music enthused by the surroundings and undertakes activities to protect nature. Her activism was subconscious, however, scholars and other sound artists realized that Leah’s music featured ecological interests. For example, Vincent Plush, a coursemate on Australian music, invited Leah to his office when she wrote a music paper inspired by the Murray River (Bandt and Barclay, 2017, p. 96). Leah grew up in South Australia near the Murray River. She later moved to North Queensland near the Great Barrier Reef. Therefore, her music and ecological activism were partially influenced by her upbringing. As such, the communities in which sound activists live determine the degree to which they engage in environmental activism.
The evaluation indicates that multiple factors may influence sound activists. Some of them, such as Leah Barclay, are intrinsically motivated to engage in ecological activism. Growing up in specific environments, such as rivers and forests, may also motivate activism because of the unique understanding of the need to conserve nature. Music and other sounds have a unique way of inspiring people across communities and generations (Bandt and Barclay, 2017, p. 97). Therefore, musicians, performers, and actors can capitalize on the human nature of connecting with sounds to promote responsible actions and behaviors. Conserving the surroundings is critical because it does enhance not only the standards of living but also the ecological balance. Humans must act responsibly to conserve terrestrial ecosystems and the species depending on them. Combining sound activism with the current conservation campaigns can accelerate positive behaviors and create a better world where everyone does something towards saving nature. Actions can become habits and cultures, therefore, sensitizing people to conserve the environment through music and other sounds can create a culture of responsible environmental behavior. In the end, the level of greenhouse gas emissions will decline, and, hence, global warming will not pose such a threat.
The Role of Technology in Sound Art Activism
Technology, which continues to advance at an unprecedented rate, plays a vital role in sound activism. It has created options and opportunities for people to listen to various sounds. For example, Rainforest Listening is a sound installation accessed by smartphones or tablets through free applications called Podwalk and Recho (Rainforest Listening, 2020, para 2). The technology has become a virtual reality initiative supporting rainforest soundscapes in urban areas to encourage ecological engagement. Those listening to the sounds develop their own experiences by activating specific soundscapes as they move in ecologically-significant locations worldwide. All soundscapes are attached to GPS coordinates to ensure they play in specific areas. Mobile devices use GPS, such as Google Maps, to search and play the appropriate sounds. They can be played through the loudspeakers, but headphones can make them more immersive. The sounds can be accessed at any time of the day or night. Availing technologies to more people can increase access to advocacy sounds and promote more responsible behaviors. Collaborations between individuals, corporations, advocacy groups, and regulators can encourage conservation and minimize hazardous emissions.
Bandt has used a sensor-activated interactive multi-channel SSHPP system to develop changing sonic worlds for audiences. Sound artists have utilized multiple technologies, such as radiographic counterpoints to the electroacoustic medium (Bandt and Barclay, 2017, p. 94). Radio has been widely used to commission critical environmental works, such as Pillars of Memory Vienna ORF. Technology is advancing rapidly, changing the way people communicate and understand information. Technological transformations will continue to influence sound activism by providing new and faster communication tools.
Leah Barclay has explored sound and technology from an acoustic ecology perspective. With field recording becoming critical to her practice and her composition shifting to electroacoustic music, Leah recognized the potential for music and sound art in ecological awareness and engagement (Bandt and Barclay, 2017, p. 96). Environmental soundscapes can ignite an understanding of the surroundings to a level facilitating behavioral change. Leah believes that listening is a powerful way to connect with nature. She also postulates that sound gives a deep and holistic perspective of the universe, making it challenging not to experience the present when enthusiastically listening. Barclay (2013, p. 29) shares similar sentiments by arguing that sound has a great potential of generating a shift in consciousness in a way that can provoke critical awareness of key world issues, such as climate change. Therefore, electromagnetic technologies amplify sound to make it more audible to connect people with their ecologies. Leah’s installations are intended to ignite a feeling of connecting to an environment. She has also committed significant time to develop pathways helping communities engage with acoustic environments in reachable ways. As such, the artist utilizes technology to diversify the approaches she uses in sound-driven acoustic ecology activism.
The growing need to develop new ways of communicating the current state of the environment has prompted the adoption of technology in sound art ecological activism. Additionally, people agree that climate change is one of the most pressing problems, yet there has been little success in encouraging communities to make positive contributions (Rainforest Listening, 2020, para 3). Sound technologies reinforce the visually dominant world by enabling individuals to hear the environment’s state and reconnect with nature. Sound has the power to transport humans to places and times, eliciting empathetic responses toward the ecology.
Conclusion
In summary, sound art has become a medium of ecological activism benefiting from technology to inspire people and corporations to engage in environmentally friendly behaviors. Artists have used water sounds to advance their environmental advocacy narratives. For example, the diverse voices along the Murray River have influenced Leah Barclay’s approach to instrumental and chamber compositions, as well as ecological activism. When she discovered acoustic ecology, Leah was drawn to the unlimited possibilities of listening to the world’s soundscapes. Artists have a unique way of connecting with people through their compositions and performances. Therefore, performers can use sounds to advance ecological campaigns in a way that addresses climate change. Technology has transformed sound art environmental activism in recent years. For instance, rainforest listening enables people to ‘hear’ the environment and reflect on the ways of eliciting positive responses to make a change. The rising adoption of mobile devices and internet penetration makes it possible for people to access rainforest communication apps. New technologies are likely to emerge in the future, enabling more people to watch and perceive the environment. Leading technology companies, such as Google, can collaborate with sound artists to reach more audiences and inspire positive environmental conservation behaviors.
Reference List
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Barclay, L. (2013) Sonic ecologies: exploring the agency of soundscapes in ecological crisis. Soundscape: The Journal of Acoustic Ecology, 12(1), pp. 29-32.
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