Paper short abstract:

The well known notion of soundscape appears as a problematic concept in an anthropological use. As we are immerged in sensorial contexts, we « hear in » rather than we hear something (Ingold, 2008). Using the term of sonic environment let us dealing with questions of relation and implication. Based on an ethnographic research carried out in a popular area of Naples (Italy), this communication intends to show how sonic postures and listenning criteria can reveal several types of relation with social and sensorial spaces.

Paper long abstract:

The well known notion of soundscape appears as a problematic concept in an anthropological use. As we are immerged in sensorial contexts, we « hear in » rather than we hear something (Ingold, 2008). Except in particular listenning situation (as an acousmatic concert), we never listen to a sonic environment in a contemplative way as we look at a lanscape. Based on an ethnographic research carried out in a popular area of Naples (Italy), this communication intends to show how sonic postures and listenning criteria can reveal several types of relation with social and sensorial spaces. Vocal gestures, as well as popular practices of fireworks, appear as territorialisation media and privileged ways of beeing present in the social web. Giving ones voice to the public space - during distant communications - is one of the possible ways offered by the sociocultural context to participate to a global way of linking habitat spaces and asserting social membership. For the inhabitants of this area, being sonic becomes integrated into the strategies adopted for living the street. The sensorial porosity between outdoor and indoor let us question the classical dichotomy between private and public spaces. By focusing sound as an anthropological entry, phonography appears as an privileged way of deeply observing everydays way of living (De certeau, 1990).