"Musicians and theorists such as the radiophonic pioneer Pierre Schaeffer, view the products of new audio technologies as devices whereby the experience of sound can be displaced from its causal origins and achieve new musical or poetic resonances. Accordingly, the listening experience associated with sonic art within this perspective is ‘acousmatic’; the process of sound generation playing no role in the description or understanding of the experience as such. In this paper I shall articulate and defend a position according to which an adequate phenomenology of auditory experience must refer to mechanisms of sound generation. This position is shown to follow from a phenomenology of sounds as located events and a physicalist account of auditory properties as features of the temporal development of such events."

The paper is an extended version of the inaugural lecture I gave on November 28, 2016 at Leiden University when I was officially appointed Full Professor in Auditory Culture. Main idea presented in this paper is that artists and artistic researchers can and should play a more prominent role in the acoustic design of public urban spaces.

1 Introduction Medialogy is an education which was established at Aalborg University in Denmark in 2002. The main aim of Medialogy is to combine technology and cre-ativity in the design, implementation and evaluation of interactive media products. As part of the Medialogy education, the ...

As its name suggests, sonic ethnography sits at the intersection of studies of sound and ethnographic methodologies. This methodological category can be applied to interpretive studies of sound, ethnographic studies that foreground sound theoretically and metaphorically, and studies that utilize sound practices similar to those found in forms of audio recording and sound art, for example. Just as using ocular metaphors or video practices does not make an ethnographic study any more truthful, the use of sonic metaphors or audio recording practices still requires the painstaking, ethical, reflexivity, time, thought, analysis, and care that are hallmarks for strong ethnographies across academic fields and disciplines. Similarly, the purpose of sonic ethnography is not to suggest that sound is any more real or important than other sensuous understandings but is instead to underscore the power and potential of the sonic for qualitative researchers within and outside of education. A move to the sonic is theoretically, methodologically, and practically significant for a variety of reasons, not least of which are (a) its ability to interrupt ocular pathways for conceptualizing and conducting qualitative research; (b) for providing a mode for more actively listening to local educational ecologies and the wide variety of things, processes, and understandings of which they are comprised; (c) ethical and more transparent means for expressing findings; and (d) a complex and deep tool for gathering, analyzing, and expressing ethnographic information. In sum, sonic ethnography opens a world of sound possibilities for educational researchers that at once deepen and provide alternate pathways for understanding everyday educational interactions and the sociocultural contexts that help render those ways of being, doing, and knowing sensible.