La mediatización sonora del territorio: acerca de los mapas sonoros como dispositivos y sus tensiones sobre el plano de la narratividad
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Universidad Nacional de las Artes (UNA). Instituto de Investigación y Experimentación en Arte y Crítica (IIEAC)
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Se desarrolla en el presente artículo una conceptualización acerca del modo en que la producción de mapas sonoros funciona como una modalidad de la mediatización sonora contemporánea del territorio. En esta dirección, se plantea que los mapas sonoros operan como dispositivos que gestionan el acceso de los actores sociales a
las producciones discursivas que allí de despliegan, regulando sus modalidades vinculares e incidiendo en la manera en que se desarrollan los procesos de producción de sentido. Se explora la variabilidad del fenómeno a partir de una aproximación a
algunos casos testigo, poniendo foco en sus organizaciones constructivas (las maneras de organizar la materialidad discursiva) y en sus dinámicas de funcionamiento. Se plantea también una discusión relativa a la operatoria de la narratividad en dichos espacios discursivos para, finalmente, postular algunas consideraciones acerca del lugar de la escucha como práctica activa y dinámica que
permite la articulación del fenómeno en cuestión con la cultura aural de los sujetos de la escucha, modulando, de maneras particulares, la producción de sentido en el contexto de una singular auralidad.
This paper develops a conceptualization about the way in which the production of sound maps works as a modality of the contemporary sound mediatization of the territory. In this direction, it is argued that the sound maps operate as devices that manage the access of social actors to the discursive productions that are display there, regulating their relationship modalities and influencing the way in which the processes of production of meaning are developed. The variability of the phenomenon is explored from an approach to some witness cases, focusing on their constructive organizations (the ways in which discursive materiality is organized) and their dynamics functioning. A discussion regarding the operation of narrativity in these discursive spaces is also proposed to, finally, postulate some considerations about the place of listening as an active and dynamic practice that allows the articulation of the phenomenon in question with the aural culture of the hearing subjects, modulating, in particular ways, the production of meaning in the context of a singular aurality.
This paper develops a conceptualization about the way in which the production of sound maps works as a modality of the contemporary sound mediatization of the territory. In this direction, it is argued that the sound maps operate as devices that manage the access of social actors to the discursive productions that are display there, regulating their relationship modalities and influencing the way in which the processes of production of meaning are developed. The variability of the phenomenon is explored from an approach to some witness cases, focusing on their constructive organizations (the ways in which discursive materiality is organized) and their dynamics functioning. A discussion regarding the operation of narrativity in these discursive spaces is also proposed to, finally, postulate some considerations about the place of listening as an active and dynamic practice that allows the articulation of the phenomenon in question with the aural culture of the hearing subjects, modulating, in particular ways, the production of meaning in the context of a singular aurality.