soundscape, Acoustic Ecology, eco-anxiety, field recording, nature connectedness 

This article reviews the history, methods, engagements, and longstanding debates of the sonic medium of field recording. It considers not just standalone field recordings but diverse music and sound art genres where environmental sounds feature. Although they diverge in their approaches, field recordists (and those who apply these recordings in creative practice) are united in the belief that field recordings grant access to and precipitate emotionally heightened spaces. These positively-valenced emotions can potentially ameliorate the emotional toll of living through a time of socio-ecological crisis. In addition, some recordists claim that their field recordings provoke environmental reflection or inspire new environmental commitments – or both. Three exemplars – soundscapes featuring whales, birds, and a menagerie of creatures – guide a discussion on measuring field recordings’ efficacy and impact. I argue that the robust link between nature connectedness (including soundscapes) and pro-environmental behaviour demonstrated in recent studies should be drawn upon more widely to bolster projects in fields like sound art, soundscape studies, and acoustic ecology. In linking art and activism, these trans-disciplinary collaborations reveal the emotional power of field recordings, the challenge of identifying qualitative results, and the promise of art-science alliances in stimulating urgent public conversations vis-à-vis environmental awareness and action. 

https://doi.org/10.1080/10304312.2023.2234112