Abstract
Wildlife recordings have an uncertain position within media industries and genres because they can circulate as documentary soundtracks, sound art, or music. In this paper, I explore the cultural life of such recordings through an examination of the work of wildlife sound recordist Chris Watson. After a sketch of his professional career and discussion of the relation between his career trajectory and formal solutions to the spatial and temporal problems of wildlife sound recording, I consider the status of Watson’s work as audio-based eco-criticism, via the record El Tren Fantasma (2011).
Original language | English (US) |
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Pages (from-to) | 151-164 |
Number of pages | 14 |
Journal | Sound Studies: An Interdisciplinary Journal |
Volume | 2 |
Issue number | 2 |
State | Published - 2016 |