Sound has always been a part of my life, and I have come to hear sound in a different light during this course. My perspective of sound changed while studying class listening and readings. I realized that sound is more than something that we hear, and it can possess various implications in your life. The writing projects we have done in class gave me the opportunity to utilize my sense of hearing in a way that I otherwise would not. Writing project one and two allowed me to observe voice and sound. I learned that you can draw meaning from sounds without language and voice can have different cultural interpretations. Writing project three introduced me to the concept of soundscape and allowed me to view how sound plays a role in my own life. A soundscape can be any acoustic environment. Before I didn’t think of the role that sound played in my life or how sounds are interwoven into my soundscape. After reading Paul Miller/aka DJ Spooky the Subliminal Kid, I learned about his concept of multiplex consciousness. He believes that our identity is a mixtape, composed of different sounds from different cultures and samplings from multiple spaces. Now, I view environments I am exposed to as a soundscape composed of mixing sounds that are a part of my identity.
I have heard a variety of sounds from different environments throughout my life. Going to different schools, playing different sports, and investing in my hobbies are a few examples of the environments I have been exposed to. These environments have generated various sounds from the screaming of coaches to the silence of classrooms to the clapping sound of skateboard wheels rolling over brick. Reading R. Murray Schafer changed my view of my environment by introducing me to the concept of soundscape. A soundscape consists of sounds produced in locations or by objects. One of my hobbies is skateboarding, and I observed the daily spaces that I skate through for writing project three. Before I started on writing project three, I did not acknowledge any of my environments at an auditory level. I only thought of interacting with the physical aspects of my environment, paying attention to the physical characteristics of objects. However, I transitioned to address the sounds in my environment after understanding what a soundscape consists of. While working on project three, I believed that my soundscape consisted solely of the sounds that I heard. In writing project three, I stated, “Even though I encounter other people in my soundscape, their soundscape and my soundscape are different because of noise.” That statement is true, but I realize now that our soundscape is still comprised of what we consider noise. I also realized that what is music to my hears, is noise to someone else. Even though I enjoy the clapping sound that my skateboard makes on brick, someone else considers it to be disruptive.
My outlook on my environments has further transformed. Soundscape is now a concept that I take into consideration when acknowledging my environment, but I also believe that soundscapes possesses a part of my identity. When I first read Rhythm Science: Paul D Miller, aka DJ Spooky that Subliminal Kid, Paul Miller’s concept of multiplex consciousness confused me. In his book, Miller claims, “…the twenty-first-century self is so fully immersed in and defined by the data that surrounds it, we are entering an era of multiplex consciousness.” (Miller, 61) After applying his claim to my soundscape, I realize there are more traits in a soundscape than I previously believed. In writing project three, I stated, “The second recording is a segment of the daily trip from Alvarez Union to our dorm.” Besides the sounds I have heard riding to union on my skateboard, there are various sounds I hear while venturing through campus that I can connect back to a previous environment, like my hometown, and I realize that those sounds are a part of me. I know what certain sounds are based off previous experiences. Paul Miller would argue that the sounds from my environments have aided in creating my personal identity. Miller asserts, “Identity is about creating an environment where you can make the world act as your own reflection.” (Miller, 61) Personal identity is more than just race or ethnicity, our place of birth or familial ties, it involves the experiences from different cultures and environments we encounter. The sounds I experienced while working on writing project three, and the sounds I experience in general all interconnected in my conscious which contribute to my identity.
I previously thought that my soundscape only consisted of the sounds entering my environment. I stated in my essay, “Soundscapes interweave as you move throughout your environment.” This claim meant that your soundscapes are in a constant state of change as you move throughout your environment only confined to you. My view of soundscape was limited to the point that I thought it was a closed space as I move around. Now, I believe that soundscape is a sound version of a mix that is open to all sounds after reading Rhythm Science: Paul D Miller, aka DJ Spooky that Subliminal Kid. Miller addressed, “That’s what mixing is about: creating seamless interpolations between objects of thought to fabricate a zone of representation in which the interplay of the one and the many, the original and its double all come under question.” (Miller, 33) He is discussing the mix, and I interpreted this quote as when we encounter objects of thought, we affect them by creating new meaning. The mix pertains to how we recontextualize experiences which defines the zone of representation. The zone of representation is like your characterization because your identity is based upon the recontextualization of these objects. I established a new meaning for my earlier claim about soundscapes. Soundscapes interweave such that your soundscape mixes with another person’s soundscape. Even though soundscapes are depictions of our own interpretations, people will still manage to experience others’ soundscapes. Our soundscape experiences mix with others’ soundscapes to form our personal identity.
My current understanding of soundscape resulted from the understanding of mix. The mix alters the traits and functions of the soundscape. While working on writing project three, I thought that soundscape consisted of pure sounds which is the reason why in my recordings for the project I remained quiet. This prevents any mix from occurring; while there will still be meaning, it hinders the recontextualization of objects. Schafer seemed to restrict the experience of soundscape by ignoring objects of thought and allowing nature to have its own natural mix. However, Paul Miller has the opposite philosophy. He would rather you create an environment that defines you based on the reflection of your experiences. You can only know your true self by learning from experience, as you change so do the sounds and objects you encounter which is why Miller states, “Any sound can be you.”