Sara Pinheiro: Acousmatic foley / study l.

In this case, each recorded object stands for one different field of interest, namely filmmaking, acousmatic sound and acoustic ecology. To support each object, a sound-field was chosen to reinforce the concrete materiality of the sounds. However, the research works towards a theory of sound objects as sound actors, instead of addressing them as tangible items. Still, each sound is likely to produce associations and connect to their referential value. This corroborates the ideas of acting, enactment and fictionality. Following these premisses, the arrangement of this composition is mainly a piece of dramaturgy. On that account, the idea of dramaturgy itself is based on three different conceptions of time. These conceptions emerge, once again, from the three different fields of research mentioned above. They are time as in length/duration, time as in a rhythmical pattern and time as a time-frame, in society. Clearly, each object follows one single conception, mostly because they can be considered icons of that specific field. The idea of contextualization is fundamental to listening to any of these sounds, which corroborates the ambiguity always implicit in reduced listening. Mostly, these are ideas already in development in a proposal named "staging sound fiction", which states that a recorded sound does not replace the experience of listening to its source, it is an experience per se.