When approaching audio field recording (often referred to as ‘phonography’) as a sound art practice, inevitable questions of aesthetics surface.
The common attitude often expressed or implied runs something along the lines of “What is the artistic element of so seemingly ‘passive’ an activity as pointing a mic and pushing the record button?” (reminiscent of similar historical attitudes about photography as a fine art).
Without addressing the implicit assumptions of transparency of mediating technology, or getting into
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