Ecoacoustics and Listening Bodies: Sensing Environmental Soundscapes
Exploring the Intersection of Sound Art, Embodied Listening, and Ecological Engagement
The Ever-Presence of Sound
I’ve just come back from Paris, a city where sounds are inescapable and ever-present. The rhythm of footsteps on cobblestone streets, the constant hum of traffic, the distant chatter of cafes—all these sounds weave together to create a symphony that shapes how we move through and perceive the city. In this urban landscape, sound envelops us, filling every moment with layers of noise, rhythm, and occasional silence, whether we are aware of them or not.
But beyond merely hearing these sounds, I found myself asking deeper questions as I walked through Paris: What agents drive these sounds? What forces—natural, social, or technological—create the sonic environments we navigate? And how do these sounds shape our social relationships, not only in this city but in the past and in today’s rapidly changing world? More crucially, how do we, as embodied listeners, engage with these soundscapes to create new forms of knowledge and understanding?
As I reflected on the sounds of Paris, I became more attuned to the subtle and complex soundscapes that surround us all. Whether in a bustling metropolis or a quiet forest, listening becomes an act of both perception and participation, where our embodied experiences serve as critical tools for making sense of the invisible forces that shape our lives. Through this lens, we can explore how sound influences our interactions with our environment, objects, and each other, leading us to question: What fictions escort us through these sonic landscapes? And how do we, with our "sonic corpus," listen to the world differently?
In this article, we will embark on an exploration of ecoacoustics—a growing movement within contemporary music and sound art—and how it reshapes our relationship with the natural world. Through sound, we will consider how artists and listeners alike are responding to environmental crises, creating a new paradigm of ecological awareness and activism.
1. Ecoacoustics: A New Sonic Ecology
In recent years, a growing number of composers and sound artists have begun to address environmental concerns through their creative practice, forming what has come to be known as ecoacoustic music and sound art. This movement—rooted in the desire to bring attention to the ecological crises of our time—uses sound not only as a medium of expression but as a tool for advocacy. Through field recordings of natural soundscapes, live performances in endangered environments, and biodata sonification from plants, these artists bridge the gap between art and activism, creating a profound and urgent cultural response to environmental issues.
Ecoacoustics invites us to listen to the world in new ways. Artists working within this movement often begin by capturing the subtle, often imperceptible sounds of nature—the hum of a forest at dawn, the rhythms of ocean waves, or the bioelectric signals emitted by plants. These works highlight the intricate sonic webs that form the backbone of ecological systems, emphasizing the fragility of the natural world and our interconnectedness with it. By making these hidden sounds audible, ecoacoustic artists remind us of the delicate balance of life on Earth and our role in preserving it.
Historical and Cultural Context
Ecoacoustics has roots in earlier traditions of soundscape composition and field recording. However, it distinguishes itself by its explicit focus on environmental activism and its engagement with current ecological crises. As the field of ecomusicology has grown, scholars have begun to take a more critical look at the relationship between sound, music, and the environment. This interdisciplinary approach brings together ecological science, philosophy, and the sonic arts, offering new ways to think about how we perceive and relate to the natural world through sound.
While ecoacoustics is still a relatively young movement, it draws on a rich history of artists and thinkers who have explored the connections between sound and the environment. From the early 20th-century soundscapes of composer R. Murray Schafer to the more recent use of biodata sonification devices that allow plants to "play" music, the field has evolved to reflect an increasingly urgent need to address the environmental challenges facing our planet.
Techniques and Approaches
Ecoacoustic works employ a wide range of techniques to bring environmental issues to the forefront of the sonic arts. Field recordings are perhaps the most common method, with artists capturing the sounds of ecosystems at risk due to climate change, deforestation, and human activity. These recordings often reveal the hidden beauty and complexity of natural environments, but they also underscore their vulnerability. By listening closely to these endangered soundscapes, audiences are invited to reflect on the ecological damage being done—and, perhaps, be inspired to take action.
Another approach involves the use of biodata sonification, in which the bioelectric activity of plants is translated into sound. Devices like the Arduino biodata sonification tool allow artists to capture the subtle electrical signals generated by plants and turn them into audible music, giving voice to the silent life of the plant kingdom. These works not only deepen our understanding of plant intelligence and interconnectivity but also challenge us to reconsider the boundaries between human and non-human life.
2. The Democratic Paradox: Sound Art as Social and Political Engagement
Sound art, whether exhibited within the controlled space of a gallery or performed outdoors in a natural environment, places listeners in a unique position within what philosopher Chantal Mouffe refers to as the democratic paradox. This paradox grapples with the tension between individual freedom and collective equality, and sound art serves as a powerful tool for engaging with this dilemma.
On the one hand, sound invites individual interpretation—each listener perceives, processes, and imagines sounds in a unique way. Sound is formless and invisible, and the auditory imagination allows for immense freedom. However, sound also demands collective engagement. Public soundscapes, especially those created through ecoacoustic works, invite a shared experience, where listeners are drawn into a communal act of hearing, contemplating, and interpreting. This creates a space where the tension between personal freedom and shared understanding plays out in real-time.
Étienne Balibar’s concept of égaliberté, or the balance between equality and freedom, fits perfectly into this framework of sound art. Ecoacoustic compositions and sound installations, for instance, ask each listener to engage deeply with what they are hearing while simultaneously acknowledging that this listening takes place within a broader social, political, and environmental context. We are free to interpret what we hear, but we are also part of a collective—bound together by the sonic environment we share.
Aesthetic and Civic Identity
Sound art blurs the lines between aesthetic experience and civic participation. The ephemeral and immaterial nature of sound—its capacity to exist and then disappear without leaving a visible trace—invites listeners to question not only the politics of art but also the politics of citizenship, belonging, and participation. In a world where environmental degradation threatens the very foundations of society, ecoacoustic works serve as reminders of our shared responsibility for the planet.
By immersing ourselves in ecoacoustic soundscapes, we engage in more than just an aesthetic experience; we participate in a form of ecological and civic activism. These works invite us to listen more carefully to the world around us, heightening our awareness of the environmental damage we often overlook. This heightened listening transforms sound from an abstract medium into a tool for social and political engagement, where the act of listening becomes an act of caring for the world.
Sound as Civic Participation
Listening to ecoacoustic works is not a passive experience—it is an active form of participation in the sonic and ecological systems around us. As we listen, we are drawn into the dynamic of the democratic paradox: our individual perceptions coexist with the collective, and this tension helps to shape both our aesthetic and civic identities.
In sound, we perform a type of civic engagement. We listen, we interpret, and we participate in the broader sonic landscape. This act of listening is, in many ways, a political one. It forces us to confront the realities of environmental destruction, to question the ways we contribute to that destruction, and to imagine how we might respond. Ecoacoustic sound works, in particular, challenge us to think critically about the world and our place within it, using sound as both a medium of artistic expression and a call to social and ecological action.
3. Embodied Knowledge: Listening as an Act of Perception and Participation
Listening is an inherently embodied act. Unlike vision, which can often feel detached and distant, sound moves through the body—it vibrates in the air around us, resonates in our bones, and can even affect our emotions and physical state. In this way, listening becomes an intimate and participatory experience, one that engages the whole body and creates new forms of embodied knowledge.
In the context of ecoacoustics, this embodied listening becomes even more significant. As we tune into the subtle and complex sounds of nature—whether it’s the hum of plant bioelectricity or the echo of an endangered forest—we are not just hearing these sounds, we are feeling them. This act of embodied listening allows us to perceive the world differently, to connect more deeply with the environment, and to cultivate a sense of ecological empathy. Our bodies become a medium for understanding, sensing, and responding to the natural world around us.
Sonic Fictions and Sensibilities
Ecoacoustic sound art often leads us into what could be described as sonic fictions—imagined or speculative soundscapes that invite us to reimagine our relationship with nature. These fictions are not detached from reality, but rather, they offer a recontextualization of the world we know. For example, when we listen to the biodata of plants turned into music, we are engaging in a form of speculative listening that challenges our traditional notions of plant life. Are plants intelligent beings? Can they communicate with us? Through sound, we begin to explore these questions and, in the process, expand our sensibilities toward the non-human world.
In creating these sonic fictions, ecoacoustic works do more than just present environmental soundscapes; they invoke a deeper reflection on our place in the world. They invite us to listen with a heightened awareness, where every sound can be a potential message from the earth, a call for attention, care, or action. This speculative listening opens up new ways of sensing the world, urging us to move beyond passive hearing and toward active engagement.
Sound as a Challenge to Normative Structures
Sound, particularly in the realm of ecoacoustic art, also poses a challenge to normative structures of perception and reality. By drawing attention to the often invisible or overlooked sounds of nature, these works disrupt our usual ways of seeing and understanding the world. Listening to a forest through the amplified sounds of wind, water, or animal calls, or hearing the bioelectric rhythms of a plant, forces us to reconsider the boundaries between human and non-human life. It invites us to question our role in the natural world and challenges the traditional hierarchies that place human experiences at the center of existence.
This disruption of norms creates space for new interpretations and meanings. The ephemeral nature of sound, its ability to exist and disappear in an instant, mirrors the fragility of the ecosystems it represents. It calls into question the certainty of our perceptions and invites a sense of doubt in the structures and values that underpin our relationship with the environment. In doing so, ecoacoustic sound art pushes us to think more critically and creatively about how we engage with the world.
4. Ecoacoustics and Environmental Activism: A Critical Evaluation
As ecoacoustic sound works gain visibility, a key question arises: are they effective as both art and activism? Ecoacoustic pieces often seek to bring attention to environmental issues such as deforestation, climate change, and species extinction by immersing listeners in soundscapes that highlight the fragile beauty of nature. But does this form of artistic engagement successfully function as a catalyst for change? Or is it merely a form of aesthetic reflection without tangible impact?
The Role of Ecoacoustics in Environmentalism
At its core, ecoacoustics operates as a cultural response to some of the most pressing environmental issues of our time. By creating immersive sonic environments, ecoacoustic artists hope to shift how we perceive nature, fostering a deeper connection between listeners and the ecosystems around them. These works often highlight the fragility of the natural world, calling attention to the often invisible or unheard sounds of ecosystems that are on the brink of collapse.
But the effectiveness of ecoacoustic works lies in their ability to inspire action. It’s one thing to listen to the delicate sounds of a rainforest, but it’s another to be moved to protect it. Some critics question whether ecoacoustic works, while powerful in their aesthetic appeal, can truly function as tools of environmental activism. Does listening to these soundscapes lead to concrete environmental action, or does it simply serve as a reminder of the beauty we risk losing?
Impact and Outcomes
To assess the impact of ecoacoustic works, we must consider the ways in which these pieces engage with audiences. Ecoacoustics thrives on creating intimate, reflective experiences that bring listeners closer to the sounds of nature. By immersing individuals in the sound of a threatened ecosystem or the bioelectric music of a plant, ecoacoustic artists invite a personal, emotional connection with the environment. This personal engagement can certainly foster a greater sense of environmental stewardship, but whether it translates into direct action—such as advocacy or policy change—is still an open question.
Moreover, ecoacoustic works often function as part of a broader environmental discourse, contributing to the growing awareness of ecological issues. While the direct impact of these works may be difficult to quantify, their role in shaping public perception and deepening ecological empathy is undeniable. They serve as a reminder that we are not separate from nature but are deeply interconnected with it—and that the sounds of the environment are, in many ways, the sounds of our own survival.
Ecoacoustics as Art and Activism
The tension between art and activism is not unique to ecoacoustics, but it is particularly relevant in this context. As ecoacoustic works seek to balance aesthetic beauty with a call to action, they occupy a unique space within the sonic arts. On the one hand, they must function as compelling works of art, engaging listeners on an emotional and sensory level. On the other, they must convey a message of urgency, encouraging audiences to take environmental action.
Can ecoacoustic sound works do both? In many cases, they succeed in raising awareness and fostering a deeper emotional connection to the environment. However, like much of environmental art, their effectiveness as activism depends on the context in which they are presented and the audiences they reach. When framed within a larger movement or aligned with concrete environmental goals, ecoacoustic works have the potential to inspire change. But they also run the risk of being appreciated solely for their aesthetic qualities, divorced from the political and ecological messages they seek to convey.
5. Sound as Participation: Listening in a Collective Ecology
Listening, especially in the context of ecoacoustics, is not a passive act. It is an act of participation, one that engages listeners in the intricate web of environmental and social relationships. When we tune into ecoacoustic soundscapes, we are not simply hearing a collection of natural or manipulated sounds; we are participating in a larger ecological conversation, where the act of listening becomes an essential part of the environment itself.
Civic Participation through Sound
Ecoacoustic works challenge us to consider how listening can be an act of civic engagement. When we listen to the biodata sonification of plants or the field recordings of endangered ecosystems, we are not merely consuming a piece of art—we are engaging with the environment as active participants. Our role as listeners becomes political; we are prompted to reflect on our responsibility toward the environment and the ways in which our actions (or inactions) shape the world around us.
This form of listening is inherently participatory because it invites us to become attuned to the world in new ways. It asks us to acknowledge the fragility of ecosystems, the intelligence of plant life, and the interconnectedness of all living beings. Through this act of listening, we are called to consider our place in the broader ecological system and to act with a heightened awareness of the impact we have on the world.
Collective Listening and Environmental Responsibility
Ecoacoustic soundscapes also emphasize the collective nature of listening. While each individual listener brings their own interpretation and emotional response to the sound, there is an inherent sense of shared experience in ecoacoustic works. The sounds of nature are universal—they are part of the same world we all inhabit, and in listening to them, we participate in a collective acknowledgment of our shared responsibility for that world.
This collective listening fosters a sense of environmental responsibility. It reminds us that the sounds we hear—whether they are the hum of a forest, the chirping of endangered birds, or the quiet signals of plants—are not isolated or disconnected from our lives. They are part of a global ecosystem that requires our attention, care, and protection. By listening together, we acknowledge that environmental action is a collective endeavor, one that depends on the participation of all.
Closing Reflection: Listening as a Personal Call to Action
For me, the act of listening goes beyond simply hearing. It becomes a profound, embodied way of engaging with the world 📡🌍, of tuning in to the delicate and often overlooked voices of nature🌿🌳. Yet, I recognize that for some, traditional listening is not possible. But “listening” can take many forms—it's about sensing, perceiving, and being attuned to the subtle energies and rhythms of the world around us. Whether through sound, sight, touch, or the vibration of the air itself, we all have the ability to connect deeply with our environment.
As an artist and eco-conscious individual, I’ve come to realize that listening is more than a purely auditory experience; it is a mindful and intentional practice of being present with the world, with the environment, and with ourselves. Ecoacoustic works may emphasize sound, but they also invite us to feel the world in a fuller sense. Through vibration, resonance, and even silence, we can all engage with nature’s rhythms. This embodied form of listening teaches us that the world communicates through many channels, not just sound.
In creating and experiencing ecoacoustic soundscapes, I invite both myself and others—whether through hearing or through other senses—to step into a mindful relationship with the environment. Each sensory experience—whether it's the wind on our skin, the sight of a swaying tree, or the silent hum of a vibrant ecosystem—reminds me that we are all part of a shared ecological web, where every action, no matter how small, has an impact. In “listening,” we find not just awareness, but a responsibility to respond.
As I reflect on this journey of becoming a “listening body,” I see it as an invitation to others—to engage with the world around us in the way that is most accessible and meaningful to them. The environmental challenges we face may seem overwhelming, but through the simple, intentional act of perception, we can begin to cultivate a deeper connection to the world and a renewed commitment to its protection.
By tuning into the world 🔊🌿✨—whether through sound, touch, sight, or any other sense—we open ourselves to new ways of being, new understandings, and new possibilities for ecological engagement. And in this space of awareness, we find not only the subtle messages of the earth but also the call to act—personally, collectively, and creatively✨.
References 📚🌿✨:
Books:
Attali, Jacques. Noise: The Political Economy of Music. University of Minnesota Press, 1985.
Schafer, R. Murray. The Soundscape: Our Sonic Environment and the Tuning of the World. Destiny Books, 1993.
Voegelin, Salomé. Listening to Noise and Silence: Towards a Philosophy of Sound Art. Continuum, 2010.
Kahn, Douglas. Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts. University of California Press, 2013.
LaBelle, Brandon. Background Noise: Perspectives on Sound Art. Bloomsbury Publishing, 2006.
Allen, Aaron S., and Kevin Dawe (Eds.). Current Directions in Ecomusicology: Music, Culture, Nature. Routledge, 2016.
Mattern, Shannon. Code and Clay, Data and Dirt: Five Thousand Years of Urban Media. University of Minnesota Press, 2017.
Feld, Steven. Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression. University of Pennsylvania Press, 2012.
Grimshaw, Anna, and Amanda Ravetz (Eds.). Visualizing Anthropology. Intellect Books, 2005.
Pijanowski, Bryan C., et al. Soundscape Ecology: The Science of Sound in the Landscape. Springer, 2014.
Journal Articles:
Allen, Aaron S. "Ecomusicology: Bridging the Sciences, Arts, and Humanities." Environmental Conservation36.2 (2009): 140-153.
Farina, Almo, and Stuart H. Gage. "Ecoacoustics: The Ecological Investigation and Interpretation of Environmental Sound." Biosemiotics 10 (2017): 251-274.
Anderson, Ben. "Affective Atmospheres." Emotion, Space and Society 2.2 (2009): 77-81.
Collins, Karen. "An Introduction to Ecoacoustics and Ecomusicology." Organised Sound 22.1 (2017): 5-8.
Monacchi, David. "Fragments of Extinction: The Art and Science of Eco-Acoustic Composition." The Journal of Ecoacoustics 1 (2017): 1-8.
Toop, David. "The Music of Nature and the Nature of Music." Soundscapes of the Urban Past, ed. Karin Bijsterveld. MIT Press, 2013: 67-81.
Dissertations and Theses:
Rahn, Philip. Listening to Nature: The Emergence of Ecoacoustics and the Sound of Environmental Crisis. PhD Dissertation, University of Oxford, 2018.
Bennett, Harriet. The Politics of Sound and the Ecological Crisis: Ecoacoustics and Environmental Activism in Contemporary Art. MA Thesis, Goldsmiths, University of London, 2021.
Web Resources and Articles:
McCartney, Andra. "Soundscape Works, Listening, and the Shifting Sonic Environment." Leonardo Music Journal, 1999.
Hogg, Bennett. "Ecoacoustics: Towards an Environmental Sonic Art." Sound and Music, 2017.
Music of the Plants Project. "Exploring Plant Intelligence through Sound."
Podcasts and Multimedia:
Sound Matters Podcast. “Ecoacoustics: The Sounds of Climate Change.” 2022.
Listening to the Land. A podcast by acoustic ecologist Bernie Krause.
Making Waves: Sonic Arts and the Environment.