{"id":750,"date":"2017-02-05T16:55:43","date_gmt":"2017-02-05T15:55:43","guid":{"rendered":"https:\/\/das-dokumentarische.blogs.ruhr-uni-bochum.de\/?page_id=750"},"modified":"2021-01-12T13:40:39","modified_gmt":"2021-01-12T12:40:39","slug":"maren-haffke","status":"publish","type":"page","link":"https:\/\/das-dokumentarische.blogs.ruhr-uni-bochum.de\/en\/kollegiat_innen\/maren-haffke\/","title":{"rendered":"Maren Haffke, Dr. des."},"content":{"rendered":"

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Universit\u00e4tsstr. 105
\n44780 Bochum
\nRoom: UNI 105, 3\/29<\/p>\n

Phone: +49 (0) 234\/32-27046
\nE-Mail: maren.haffke@rub.de<\/p>\n



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Title of the Postdoc-Project<\/u><\/strong><\/h3>\n

The Reality of Field Recordings: Excess and Reserve of Acoustic Realisms in Media Studies and Sound Studies<\/em><\/p>\n

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Project Description<\/u><\/strong><\/h3>\n

Recently, there seems to be a growing interest in field recording in contemporary music. Several labels have been releasing recordings of environmental sound in the context of musical publication structures. These activities are linked to a history of sampling techniques and instrumental utilization of recording media that, by way of the avant-garde movements and popular music of the 20th century, can be traced all the way back to musique concr\u00e8te<\/em>. The new love for recording in the field \u2013 which is to say, outside of studios \u2013 is, in part, directly related to the historically unprecedented availability of affordable mobile recording technologies. Smartphones are not only equipped with cameras and mp3-players, they also come with microphones and support digital audio-recording-software. This creates possibilities for recording in the open that have been embraced both by laymen and professional musicians. The musical strategies that are applied by these musicians reveal complex approaches to the production and processing of found audio. Both the praxis of audio-recording and the archival storage of environmental sounds possess connections not only to musical contexts, but also to ethnographic studies, film sound design, bioacoustics, and the avant-gardes of the visual and performing arts. At the same time, we can observe a slight movement in the theory of sounds. Several recent publications in sound studies have introduced theories that attribute to the mediality of sound recordings a specific potential for registering material realities that go beyond anthropocentric subjectivation. These new materialisms and realisms often operate with a notion of acoustic environmentality. Starting from a media-archeological perspective, my project approaches field recordings and the history of acoustic ecologies by focusing on epistemological and material negotiations that organize the exchanges of musicology and media studies in the light of new realisms.<\/p>\n

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Scholarly Career<\/u><\/strong><\/h3>\n