I am surprised how much the work has interested me, and I think it really helped to throw myself in at the deep end with attending Chris Watson’s soundscape performance at the beginning of the year. Doing this meant I had a point of focus to beginning my listening research. I also found that going to the performance allowed me to experience soundscapes in a completely different way to any ways in which I had previously been exposed to them. I also found the principle of soundwalking very useful in my own research. I have done a lot of reflective and listening-based research and so I feel that the research piece has changed my perspective on listening, particularly to sounds around me that I would otherwise ignore. I have found that listening intently to my environment is a worthwhile endeavour and that listening to a sound for its own merits without considering its sonorous object is rewarding, relaxing and fascinating.
One of the biggest changes I have noticed in my work as I have gone through is my initial rejection of the idea of a hi-fi and lo-fi soundscape as outlined by many acoustic ecologists. As I have pointed out in my draft reflections, I found that actually making going out and making recordings and then listening back to them and discovering the noise level (lo-fi sounds) was so high, made me actually appreciate what acoustic ecologists are talking about, and I hope my soundscape demonstrates the noisiness of even relatively quiet suburban areas.
I have enjoyed spending time listening to the world around me and trying to capture it on my field recorder. I feel that not only have I learnt a lot about listening techniques and soundscape composition, but I have also learnt a lot about recording and am glad I started trying out field recording before I made the recordings necessary for my final soundscape.