radio art, Acoustic Ecology, field recording 

In this article, composer Hildegard Westerkamp explores links that she has developed in her longtime practice between sound walks, sound design, composition, radio, acoustic ecology and the ways in which we listen to the environment. She traces how early access to a community radio station allowed her to explore radio as both an artistic medium for sound expression and a forum for sharing concerns about acoustic ecology. Importantly she discusses the role of the microphone as a technical tool that impacts our listening, as well as the recording strategies that she has deployed from the start and that have continued to be useful throughout her entire career.

In this context, she proposes the concepts of the «moving microphone»,
the «searching microphone» and the «stationary microphone» and highlights the
inclusión of her own voice as part of her field recording process - initially understood as a link between radio listener and soundscape, but ultimately offering transparency about the recordist’s presence in any field recording, radio art piece, or soundscape composition. Even though this started forty years ago, the ideas seem to be just as relevant today, and their application even more urgent in our world threatened by ecological crises and climate change.

To be published (in English) in: Review Filigrane. Musique, esthétique, sciences, société n°26

Translated into Spanish and published in Escuchando lugares: el field recording como práctica artística y activism ecológico, FREYCHET, Antoine; REYNA, Alejandro et SOLOMOS, Makis (ed.), UNL ediciones, Argentina (2021) - https://hdl.handle.net/11185/6328 

https://www.hildegardwesterkamp.ca/writings/writingsby/?post_id=74&title=the-microphone-ear:-field-recording-the-soundscape