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New Approaches to Sound-Based Mapping Eric Powell a Thesis in the Department of Communication Stud

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New Approaches to Sound-Based Mapping Eric Powell a Thesis in the Department of Communication Stud Hearing Motion in the Moment: New Approaches to Sound-based Mapping Eric Powell A Thesis In the Department of Communication Studies Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Communication) at Concordia University Montreal, Quebec, Canada January 2019 © Eric Powell, 2019 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Eric Powell Entitled: Hearing Motion in the Moment: New Approaches to Sound-based mapping and submitted in partial fulfillment of the requirements for the degree of Doctor Of Philosophy (Communication) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. Peter Rist External Examiner Dr. Line Grenier External to Program Dr. Jill Didur Examiner Dr. Jonathan Sterne Examiner Dr. Sebastien Caquard Thesis Supervisor Dr. Kim Sawchuk Approved by Dr. Jeremy Stolow, Graduate Program Director March 13, 2019 Dr. André Roy, Dean Faculty of Arts and Science ABSTRACT Hearing Motion in the Moment: New Approaches to Sound-based Mapping Eric Powell, Ph.D. Concordia University, 2019 This dissertation frames and describes my research-creation project, which involved building three interactive sound-based mapping interfaces that challenge how we listen to and make meaning from urban sounds. Old Montreal’s Acoustic Labyrinth is a marble-maze game that allows listeners to explore a simultaneous recording of the Basilica Notre Dame’s bells from six different locations. Street Ears, a GPS-enabled smartphone app, gives listeners the opportunity to navigate the acoustic environments of two Montreal neighbourhoods—from anywhere in the world. Finally, 168 Hours is a large clock-like interface that encourages listeners to remix time by playing with snippets of a continuous, week-long recording from a single location in Montreal’s Milton Park. Each of these interfaces draws listeners’ ears to a different aspect of the aural environment: how sound is shaped by architecture, how space creates points of sonic transition, and how durational listening reveals unexpected patterns and textures that give new meaning to familiar sounds. My project makes contributions to theories of mobility, space, and place by developing an approach to listening that challenges presumed hierarchies surrounding “good” and “bad” sounds. I interrogate institutional representations of urban sound as they relate to questions of power and authority, advocating for more grassroots iii approaches to sound-based mapping. The introductory sections to this document establish the theoretical and methodological frameworks for the project as a whole; the three main chapters detail the conceptual and practical aspirations of each mapping interface. In the conclusion, I consider the relationship between maps and stories and encourage my readers/listeners to embrace a new approach to urban sound. Drawing from the fields of Sound Studies, Cultural Studies, and Critical Cartography, this dissertation refigures the role sound has in shaping our sense of place and demonstrates how the acoustic environment structures our daily lives. iv ACKNOWLEDGEMENTS This project would not have been possible without everyone who lives and moves in the city of Montreal. Thank you. It is your everyday performances that (knowingly or not) have generated the raw material for my work on sound in the urban environment. In particular, thank you to the tourists of the Old Port, the residents of my Milton Park and Verdun neighbourhoods (including those rowdy McGill students), and all the people driving up and down Parc Avenue every day. Thank you to my wife Casey, who not only puts up with me staring off into space when I get distracted by a sound, but has also shared my enthusiasm for listening to city sounds (never mind your willingness to be a beta tester or recordist at the drop of a hat). I could not have gotten this far without your continued support and inspiration. I am so glad we get share our life together. Many thanks all my collaborators over the years. In particular I owe a great debt of gratitude to Matt Griffin, who was always willing to help with recording, coding, testing, and (inevitably) troubleshooting. Thank you for being a great friend, co- conspirator, and travel companion. I also want to thank my additional recordists: Margaret Thompson, Nigel Taylor, and Tony Massil. Thank you to Pablo Alvarez and Elise Windsor for your assistance in documenting these interfaces. Also, thanks to Sheryl McCormick for your attention to detail and enthusiasm in the final stages of this project. To my mom and dad, Barbara and David. You have always encouraged me to follow my passions, no matter how random they may seem. Dad, thanks for all the chats we’ve had about sound, landscapes, and maps. Your fingerprints are all over this. Mom, sorry you’re not here to read it, but I’m sure you’d get a kick out of me becoming a v Doctor of Sound. Thank you Alison and Nate for being the best siblings a person could have, and for always being there for me. I would also like to thank Jonathan Sterne (McGill) and Sébastien Caquard for their role on my advisory committee. Our conversations over the years have always been insightful and inspiring, and your feedback on this document has been invaluable in allowing me to contribute to academic discourse at this level. Thank you to Jeremy Stolow who has helped time and time again over my degree. I would also like to thank Sandra Gabriele, Mia Consalvo, and Louis-Claude Paquin (UQAM), for helping me set the groundwork for this degree. A special thank you to Owen Chapman (in particular for your warm welcome to Concordia) and Line Grenier (UdeM), both of whom served on my dissertation proposal committee. Many, many thanks to Ted Little, who showed me the best sides of academia and forever changed my approach to pedagogy. You are a true inspiration, and a wonderful person to work with. I never left a meeting without a smile on my face. I would like to thank all my friends, colleagues, and students in the Communications Department as well as those at UdeM, UQAM, and McGill. In particular I would like to thank Ben Barootes, Ian Whittington, Kat Symes, Sam Thulin, Ash McAskill, as well as the members of Milieux and the Critical Disabilities Studies Working Group. I would also like to thank all the workshop participants and members of the public who have played with these maps and taken the time to chat with me afterwards. My heartfelt gratitude to the Social Sciences and Humanities Research Council, Hexagram, the GALA network, and Concordia University for the financial and practical support that helped me complete this degree. vi Most importantly, thank you to my supervisor, Kim Sawchuk. This journey has not always been easy, and I could not have done this without your support—not only by constantly introducing me to new ideas, authors, and methods—but also for creating opportunities both inside and outside of academia that allowed me to further my research and share my work with others (literally) around the world. vii Table of Contents Introduction ................................................................................................ 1 Key Concepts ................................................................................................ 5 Research Methods ...................................................................................... 26 Methods and Ethics ................................................................................... 50 Chapter 1: Exploration–Old Montreal’s Acoustic Labyrinth ............................. 66 Chapter 2: Movement–Street Ears ............................................................. 102 Chapter 3: Duration–168 Hours ................................................................. 148 Conclusion ............................................................................................... 184 Works Cited ............................................................................................. 195 Appendix A: Old Montreal’s Acoustic Labyrinth 1–Source Code .......................................................................................... 201 2–Images .................................................................................................. 206 3–Record of Exhibitions ........................................................................... 209 Appendix B: Street Ears 1–Source Code ........................................................................................... 211 2–Images .................................................................................................. 241 3–Report on Street Ears Programming By Matthew Griffin ..................... 243 4–Description of Use ................................................................................ 249 5–Record of Presentations and Workshops .............................................. 251 Appendix C: 168 Hours 1–Source Code .......................................................................................... 252 2–Images .................................................................................................. 256 Appendix D: Conclusion 1–Images .................................................................................................. 259 viii Introduction “The acoustic city transcends the limitations of the human ear; its full resonance eludes even the most ardent of listeners.” -Matthew
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