Islas Resonantes. La escucha como acontecimiento pedagógico desde el sonido en las artes
Date
Authors
Subject
escucha
sonido
investigación artística
artografía
listening
sound
artistic research
a/r/tography
sonido
investigación artística
artografía
listening
sound
artistic research
a/r/tography
Language:
Journal Title
Journal ISSN
Volume Title
Publisher
Instituto Tecnológico de Santo Domingo (INTEC)
El ocho de octubre de 1988 Pauline Oliveros entró junto con otros tres músicos en una cisterna vacía con la intención de grabar una improvisación sonora. Esta cisterna, inhabilitada desde la segunda guerra mundial, podía contener ocho millones de litros de agua y generar 45 segundos de reverberación. El acontecimiento será la premisa de lo que Pauline denominará “Deep Listening” o escucha profunda, concepto central de una línea de investigación expandida hacía las pedagogías y las prácticas artísticas que propone una nueva forma de conocimiento a partir de la escucha.
El Laboratorio de Investigación de las Sonoridades y la Escucha (LiSE) de la Facultad de Artes de la UNAM, nace en el año 2017 como un espacio para generar diálogos entre las dinámicas de la investigación-producción artística y los estudios sonoros. Como su nombre lo indica, son dos ejes conceptuales los que estructuran el trabajo dentro del laboratorio: la escucha y el sonido. La escucha como experiencia sensible del mundo permite aprehender la realidad desde la dimensión de lo audible. El sonido, además de un fenómeno es también un dispositivo, una herramienta transversal transdisciplinaria que, en su encuentro con el pensamiento artístico y otros saberes, posibilita la generación de experiencias de conocimiento.
La propuesta pedagógica que se propone en el LiSE es la a/r/tografía, una metodología artística basada en la investigación acción que propone la figura del artista (A), como investigador o researcher (R), que a su vez se desempeña como docente teacher (T). Esta estrategia se plantea como una forma de indagar en el mundo a partir de la práctica artística centrada en los procesos, las metodologías y las exploraciones que suceden dentro y fuera del espacio educativo. En el LiSE se explora el encuentro del arte y el sonido como una forma de pensar con los oídos.
Si bien este texto no pretende ser una revisión exhaustiva de la genealogía del arte sonoro, lo que busca es presentar los antecedentes de una práctica artística, su marco de referencia y su posibilidad como metodología pedagógica, pero sobre todo propone la idea de la pedagogía de las artes a través del sonido como una obra de arte colectiva.
On October 8, 1988, Pauline Oliveros entered a vacant cistern with three other musicians with the intention of recording a sound improvisation. This cistern, unused since World War II, could hold eight million liters of water and generate 45 seconds of reverberation. The event would become the premise for what Pauline would later call “Deep Listening”, a central concept in a line of research expanded toward pedagogies and artistic practices that propose a new way of knowing through listening. The Laboratory for the Research of Sonorities and Listening (LiSE) of the Faculty of Arts at UNAM was founded in 2017 as a space to foster dialogues between the dynamics of artistic research-production and sound studies. As its name suggests, the lab’s work is structured around two conceptual pillars: listening and sound. Listening, as a sensitive experience of the world, allows one to grasp reality from the dimension of the audible. Sound, in addition to being a phenomenon, is also a device, a cross-disciplinary and transdisciplinary tool that—when encountered with artistic thinking and other knowledge systems—enables the generation of knowledge experiences. The pedagogical approach proposed by LiSE is a/r/tography, an artistic methodology based on action research that introduces the figure of the Artist (A), as Researcher (R), who in turn also acts as a Teacher (T). This strategy is posed as a way to explore the world through artistic practice centered on processes, methodologies, and explorations that take place inside and outside the educational space. At LiSE, the intersection of art and sound is explored as a way of thinking with the ears. Although this text does not aim to be an exhaustive review of the genealogy of sound art, it seeks to present the background of an artistic practice, its frame of reference, and its potential as a pedagogical methodology. Above all, it proposes the idea of arts pedagogy through sound as a collective artwork.
On October 8, 1988, Pauline Oliveros entered a vacant cistern with three other musicians with the intention of recording a sound improvisation. This cistern, unused since World War II, could hold eight million liters of water and generate 45 seconds of reverberation. The event would become the premise for what Pauline would later call “Deep Listening”, a central concept in a line of research expanded toward pedagogies and artistic practices that propose a new way of knowing through listening. The Laboratory for the Research of Sonorities and Listening (LiSE) of the Faculty of Arts at UNAM was founded in 2017 as a space to foster dialogues between the dynamics of artistic research-production and sound studies. As its name suggests, the lab’s work is structured around two conceptual pillars: listening and sound. Listening, as a sensitive experience of the world, allows one to grasp reality from the dimension of the audible. Sound, in addition to being a phenomenon, is also a device, a cross-disciplinary and transdisciplinary tool that—when encountered with artistic thinking and other knowledge systems—enables the generation of knowledge experiences. The pedagogical approach proposed by LiSE is a/r/tography, an artistic methodology based on action research that introduces the figure of the Artist (A), as Researcher (R), who in turn also acts as a Teacher (T). This strategy is posed as a way to explore the world through artistic practice centered on processes, methodologies, and explorations that take place inside and outside the educational space. At LiSE, the intersection of art and sound is explored as a way of thinking with the ears. Although this text does not aim to be an exhaustive review of the genealogy of sound art, it seeks to present the background of an artistic practice, its frame of reference, and its potential as a pedagogical methodology. Above all, it proposes the idea of arts pedagogy through sound as a collective artwork.
Description
Type
info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
Article evaluated by peers
Artículos evaluado por pares
info:eu-repo/semantics/publishedVersion
Article evaluated by peers
Artículos evaluado por pares
Source
Science and Education; Vol. 9 No. 2 (2025): Science and Education; 187-198
Ciencia y Educación; Vol. 9 Núm. 2 (2025): Ciencia y Educación; 187-198
2613-8808
2613-8794
10.22206/ciened.ciened.2025.v9i2
Ciencia y Educación; Vol. 9 Núm. 2 (2025): Ciencia y Educación; 187-198
2613-8808
2613-8794
10.22206/ciened.ciened.2025.v9i2