Aproximaciones semióticas al field recording: del sonido en-sí-mismo a las complejas tramas de la circulación del sentido
Fecha
2021-12-31
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Universidad Nacional del Litoral (UNL). Ediciones UNL
Resumen
En el presente trabajo se exploran, desde una perspectiva semiótica, distintos
aspectos constitutivos del campo del field recording, particularmente en un ámbito
circunscripto del mismo en el que las grabaciones de campo funcionan como prácticas
artísticas en sí mismas. En esta dirección, se pondrá foco en la dimensión significante
de las producciones discursivas inscriptas dentro de dicho dominio, indagando acerca
de sus particulares modalidades de funcionamiento y de sus cualidades en tanto
fenómenos mediáticos que promueven singulares procesos de mediatización sonora.
A tales efectos, se partirá de una problematización en torno a la noción de objeto
sonoro, indagando acerca de su estatuto y tensionando dicha noción en el marco de
distintas prácticas inscriptas dentro del campo del field recording. Ulteriormente, se
profundizará en una de las concepciones dominantes que orienta gran parte de las
producciones sonoras dentro del dominio del field recording: la correspondiente al
sonido en-sí-mismo. Se discutirá dicha concepción a partir de dos referentes del
campo y del modo en que sus preceptos estéticos se materializan en su producción
sonora. A partir de la caracterización y comprensión de dicha concepción, en su
particular relación con los objetos sonoros, confrontaremos con otras orientaciones
dentro del campo que proponen trayectorias semióticas que van más allá de la
inmanencia del sonido en-sí-mismo, tensionando con diversas capas significantes que
se articulan con aspectos específicos del contexto social, histórico, ecológico o cultural
del lugar en el que se generan las grabaciones de campo. Finalmente, esto nos
habilitará a considerar, más cabalmente, la complejidad de los procesos de producción
de sentido en ambas vertientes y el modo en que operan los procesos de circulación
discursiva en el contexto de las field recordings en la contemporaneidad.
In this work, different constitutive aspects of the ground of field recording are explored from a semiotic perspective, particularly in a circumscribed area of the field in which it functions as artistic practices in themselves. In this direction, our focus will be placed on the significant dimension of the discursive productions inscribed within said domain, inquiring about their particular modes of operation and their qualities as media phenomena that promote singular processes of sound mediatization. To this end, we will start from a problematization around the notion of sound object, inquiring about its status and to tenses said notion within the framework of different practices inscribed within the ground of field recording. Subsequently, we will delve into one of the dominant conceptions that guides a large part of sound productions within the domain of field recording: that corresponding to the sound-in-itself. This conception will be discussed from two referents of the field and the way in which its aesthetic precepts are materialized in its sound production. From the characterization and understanding of this conception, in its particular relationship with sound objects, we will confront other orientations within the field that propose semiotic trajectories that go beyond the immanence of sound-in-itself, stressing with various signifiers layers that are articulated with specific aspects of the social, historical, ecological or cultural context of the place where the field recordings are generated. Finally, this will enable us to consider, more fully, the complexity of the processes of production of meaning in both conceptions and the way in which the processes of discursive circulation operate in the context of field recordings in contemporary times.
In this work, different constitutive aspects of the ground of field recording are explored from a semiotic perspective, particularly in a circumscribed area of the field in which it functions as artistic practices in themselves. In this direction, our focus will be placed on the significant dimension of the discursive productions inscribed within said domain, inquiring about their particular modes of operation and their qualities as media phenomena that promote singular processes of sound mediatization. To this end, we will start from a problematization around the notion of sound object, inquiring about its status and to tenses said notion within the framework of different practices inscribed within the ground of field recording. Subsequently, we will delve into one of the dominant conceptions that guides a large part of sound productions within the domain of field recording: that corresponding to the sound-in-itself. This conception will be discussed from two referents of the field and the way in which its aesthetic precepts are materialized in its sound production. From the characterization and understanding of this conception, in its particular relationship with sound objects, we will confront other orientations within the field that propose semiotic trajectories that go beyond the immanence of sound-in-itself, stressing with various signifiers layers that are articulated with specific aspects of the social, historical, ecological or cultural context of the place where the field recordings are generated. Finally, this will enable us to consider, more fully, the complexity of the processes of production of meaning in both conceptions and the way in which the processes of discursive circulation operate in the context of field recordings in contemporary times.
Descripción
Palabras clave
Grabaciones de campo, Semiótica, Estudios sonoros, Circulación del sentido, Field recording, Sound studies, Semiotics