Tumut

Background Sound recording technologies and methods are focused on isolating particular sounds to produce malleable recordings, extracted from their ecologies to enable flexible use in sound design and composition. This approach is rightly increasingly critiqued in sound studies, such as in Mark Peter Wright’s (2022) book Listening After Nature: Field Recording, Ecology, Critical Practice. There are, however, examples of sound recording practices that attempt to articulate ecological relationships between sounds. For example, the improvising Splinter Orchestra’s experiments with recordists moving around the group performing in place, such as for their album Mungo (2017), and the film influenced ‘steadicam’ approach used by electroacoustic trio Haptic for their album Weird Undying Annihilation (2021). Contribution Tumut is a binaural sonic piece that listens to Grey-headed Flying-foxes waking and heading out from their colony on an island in the Tumut river, below the town of the same name. Recorded using an ambisonic microphone, the piece tracks an encounter between the flying-foxes, some of their human neighbours, and the recordist. The piece exposes complex relationships between the flying-foxes, the river, and the town, employing and contributing methods that use the affordances of ambisonic recording to track across the sonic field from the river, to the flying-foxes, locals passing by, and back. Significance Tumut was selected for and featured in the Radiophrenia 2025 festival based in Glasgow, broadcast on FM radio and online. This was the eighth edition of the festival, which is internationally recogised as a key event for radiophonic and audio art, and funded through Creative Scotland’s multi-year funding strand.

**背景**：当前的声音录制技术与方法多聚焦于分离特定声响，以生成可灵活调配的录音作品——将声响从其原生生态语境中剥离，从而在声音设计与音乐创作中实现灵活复用。这一创作路径在声音研究领域正日益受到合理批判，正如马克·彼得·赖特（Mark Peter Wright）2022年的专著《倾听自然之后：田野录音、生态与批判实践》中所阐述的那样。但也有部分声音录制实践尝试阐释声响间的生态关联。例如，即兴演奏团体碎弦管弦乐团（Splinter Orchestra）曾开展实验，让录音师围绕现场表演的乐团进行移动录制，如其2017年专辑《Mungo》的制作；电子声学三重奏团Haptic则借鉴影视拍摄手法，采用斯坦尼康（steadicam）式录制方案，用于其2021年专辑《Weird Undying Annihilation》的创作。

**创作贡献**：《Tumut》是一件双耳声景作品，记录了灰头飞狐（Grey-headed Flying-foxes）从其位于图穆特河（Tumut river）同名小镇下游河中小岛的栖息地苏醒、外出活动的全过程。该作品采用 ambisonic 麦克风（ambisonic microphone）录制，追踪记录了飞狐、部分周边居民与录音师之间的互动场景。作品通过利用 ambisonic 录音（ambisonic recording）的技术特性，横跨从河流、飞狐群到路过居民的完整声景场域，进而揭示了飞狐、河流与小镇之间的复杂生态关联，同时也为相关录音方法的发展提供了实践支撑。

**作品意义**：《Tumut》入选并展出于苏格兰格拉斯哥举办的2025年Radiophrenia广播艺术节，该作品将通过调频广播与线上渠道进行播出。本届为该艺术节的第八届活动，其作为国际公认的广播声学与音频艺术领域核心盛会，获得了苏格兰创意署（Creative Scotland）多年期专项资助。