著者

和泉 浩 IZUMI Hiroshi

出版者

秋田大学教育文化学部

雑誌

秋田大学教育文化学部研究紀要 人文科学・社会科学 = Memoirs of Faculty of Education and Human Studies, Akita University. The humanities & the social sciences (ISSN:24334979)

巻号頁・発行日

vol.73, pp.11-21, 2018-02-23

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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.