@misc{10481/110755,
year = {2020},
month = {7},
url = {https://hdl.handle.net/10481/110755},
abstract = {From a philosophical (and anthropological) perspective, we could approach the scene of field recordings based on the sounds generated by everyday actions as a representation of lesser-known culture, which provides new data for the understanding of traditions where the metaphors of the citizens of a particular place—and likewise of specific individual characteristics—are found.
Regarding intrahistory, the term has its origin thanks to the writer Miguel de Unamuno, in the book En torno al casticismo (1902), where it is used to refer to traditional life. This term refers to a different kind of history, one that differs from what appears in newspaper headlines. It therefore means revealing every event that has remained in the shadow of what is historically better known. Intrahistory is, for the writer, that which happens but is not published.
Examples of intrahistory throughout history can be found in the traces of art, dance, literature, and music. However, sounds seem not to have enjoyed the same level of relevance. To clarify this statement, let us consider the relationship between history, political power, and the anthem. The sounds of intrahistory—those that have remained silent, those that describe everyday life—are the ones that, in this project, will be studied, analyzed, and presented from both individuality—the work of scientific field research and the creation of a project—and collectivity—group decisions—in order, ultimately, to offer sound compositions on the Internet.},
publisher = {AASA, Asociación Cultural Acción Social y Arte. Universidad de Jaen},
keywords = {Paisajes sonoros},
keywords = {Educación},
keywords = {Arte Sonoro},
keywords = {Soundscape},
keywords = {Learning},
keywords = {Sound art},
title = {Soundscapes colaborativos: acciones sonoras en época de crisis},
author = {Tornero Lorenzo, María Paz},
}