Resonant Ecologies: Spatialization and Site-Specificity in Electroacoustic Music
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This article develops ‘resonant ecology’ as a framework for electroacoustic music and sound art. It argues that spatialization and site-specificity are ecological methods, not neutral tools. The discussion links spatial audio practices to how attention is directed and how listeners form a sense of place, showing that immersive design can connect audiences responsibly to environments and nonhuman life. The study brings together ideas from acoustic ecology, spatial aesthetics, and enactive accounts of resonance to set practical criteria for ecological spatial work and to clarify ethical issues such as consent, representation, and environmental justice. Three case studies illus-trate how spatial form, source selection, and diffusion choices express relations of power, scale, and risk. The analysis provides questions that help distinguish spectacle from situated listening and indicates when spatial layering explains ecological relations rather than ob-scuring causes. The conclusion offers a research agenda and teaching protocols for collaborative, site-based practice, presenting resonant ecology as a way to compose with places and communities, not merely about them.
Abstract
This article develops ‘resonant ecology’ as a framework for electroacoustic music and sound art. It argues that spatialization and site-specificity are ecological methods, not neutral tools. The discussion links spatial audio practices to how attention is directed and how listeners form a sense of place, showing that immersive design can connect audiences responsibly to environments and nonhuman life. The study brings together ideas from acoustic ecology, spatial aesthetics, and enactive accounts of resonance to set practical criteria for ecological spatial work and to clarify ethical issues such as consent, representation, and environmental justice. Three case studies illus-trate how spatial form, source selection, and diffusion choices express relations of power, scale, and risk. The analysis provides questions that help distinguish spectacle from situated listening and indicates when spatial layering explains ecological relations rather than ob-scuring causes. The conclusion offers a research agenda and teaching protocols for collaborative, site-based practice, presenting resonant ecology as a way to compose with places and communities, not merely about them.