The practice of soundwalking and recording has been implemented as a method in artistic composition pedagogy, soundscape awareness interventions, in addition to social science, psychology and acoustics research. This paper explores the author’s phenomenological practice of recording sonic dérives, psychogeographic sound wanderings through urban and rural environments; exploring both consciously and unconsciously environments and paths of sonic interest, leading to the creation and mapping of sonic ‘desire’ paths.
Are we hearing the same soundscape? Who's listening, how, and to what?'
Soundscape research has often struggled to deal with the multidimensional experience of the phenomenological perception of the sound environment. Whilst there have been a number of important large multidisciplinary projects formed from a wide range of stakeholder disciplines, results have often been epistemologically split between interpreting the complex multidimensional, multi-epistemological, phenomenological experience of a soundscape for some disciplines, versus the positivist, objectivist quantitative approach of other disciplines.