Soundmarks and Ecotones: Ensounding Scotland

  • Camille Manfredi
Part of the Geocriticism and Spatial Literary Studies book series (GSLS)


This chapter examines the modes of captures and production of what Raymond Ray Schafer coined ‘soundscape’ in his key 1977 monograph The Tuning of the World. Through the case studies of site-specific acoustic artworks by contemporary artists Dalziel+Scullion and Hanna Tuulikki, it endeavours to map the modes of inscription of spatialised and spatialising sounds within the scripted and the non-scripted, with a view to assessing the degree to which they participate in the revival of the romantic ideal of the total artwork, or Gesamtkunstwerk.


  1. Abram, David. 1997. The Spell of the Sensuous. Perception and Language in a More-than-Human World. New York: Vintage Books.Google Scholar
  2. Blackie, Sharon. 2016. If Women Rose Rooted. Tewkesbury: September Publishing.Google Scholar
  3. Bolter, Jay David, and Richard Grusin. 1999. Remediation: Understanding New Media. Cambridge, MA: MIT Press.Google Scholar
  4. Casey, Edward S. [1993] (2009). Getting Back into Place: Toward a RenewedUnderstanding of the Place-World. New Haven: Indiana University Press.Google Scholar
  5. Curry, Patrick. 2007. Post-Secular Nature: Principles and Politics. Worldviews: Environment, Culture, Religion 11: 284–304.CrossRefGoogle Scholar
  6. Durkheim, Emile. [1912] 1995. The Elementary Forms of Religious Life. Trans. Karen Fields. New York: Free Press.Google Scholar
  7. Foster, Hal. 1995. The Artist as Ethnographer? In The Traffic in Culture. Refiguring Art and Anthropology, ed. George Marcus and Fred Myers, 302–309. Berkeley: University of California Press.Google Scholar
  8. Gilchrist, Bruce, Jo Joelson, and Tracey Warr, eds. 2015. Remote Performances in Nature and Architecture. Abingdon: Routledge.Google Scholar
  9. Ihde, Don. 2007. Listening and Voice. Phenomenologies of Sound. Albany: State University of New York Press.Google Scholar
  10. Ingold, Tim. 2011. Being Alive. Essays on Movement, Knowledge and Description. London/New York: Routledge.CrossRefGoogle Scholar
  11. Jakobson, Roman. 1987. Language and Literature. Cambridge, MA: Harvard University Press.Google Scholar
  12. Kostelanetz, Richard. 1977. Text-Sound Art: A Survey. Performing Arts Journal 2 (2): 61–84. Accessed 16 Mar 2019.CrossRefGoogle Scholar
  13. Kwon, Miwon. 2002. One Place after Another: Site-Specific Art and Locational Identity. Cambridge, MA: The MIT Press.CrossRefGoogle Scholar
  14. Lévy, Jacques. 1999. Le Tournant géographique. Penser l’espace pour lire le monde. Paris: Belin.Google Scholar
  15. Ma, Ming-Qian. 2009. The Sound Shape of the Visual: Toward a Phenomenology of an Interface. In The Sound of Poetry / The Poetry of Sound, ed. Marjorie Perloff and Craig Dworkin, 249–269. Chicago: University of Chicago Press.CrossRefGoogle Scholar
  16. Nancy, Jean-Luc. [2002] 2007. Listening. Trans. Charlotte Mandell. New York: Fordham University Press.Google Scholar
  17. Schafer, Robert Murray. [1977] 1994. The Soundscape: Our Sonic Environment and the Tuning of the World. Rochester: Destiny.Google Scholar
  18. Sterne, Jonathan. 2003. The Audible Past: Cultural Origins of Sound Reproduction. Durham: Duke University Press.CrossRefGoogle Scholar
  19. Till, Nicholas. 2013. ‘Sound Houses’: Music, Architecture, and the Postmodern Sonic. In The Oxford Handbook of Sound and Image in Western Art, ed. Carol Vernallis, Amy Herzog, and John Richardson, 163–190. New York: Oxford University Press.Google Scholar


  1. Dalziel+Scullion. Accessed 16 Mar 2019.
  2. Deveron Projects. Accessed 16 Mar 2019.
  3. Live Art Development Agency. Remote Performances. Accessed 16 Mar 2019.
  4. Remote Performances. Accessed 16 Mar 2019.
  5. Tuulikki, Hanna. Accessed 16 Mar 2019.
  6. ———. Away With the Birds. Accessed 16 Mar 2019.

Copyright information

© The Author(s) 2019

Authors and Affiliations

  • Camille Manfredi
    • 1
  1. 1.University of NantesNantes Cedex 1France

Personalised recommendations