The bicentenary of the 1817 Pentrich Revolution provided an opportunity for the composition of a series of soundwalks that, in turn, offer themselves up as a case study in an exposition of spatial bricolage, from the perspective of an interdisciplinary artist working with the medium of locative sound. Informed by Doreen Massey’s definition of space as ‘a simultaneity of stories so far’, the author’s approach involves extracting sounds from the contemporary soundscape and re-introducing them in the form of multi-layered compositions. This article conducts an analysis of the author’s soundwalking practice according to Max van Manen’s formulation of four essential categories of experience through which to consider our ‘lived world’: spatiality, temporality, corporeality, and relationality. Drawing upon theorists whose concerns include cinematic, mobile and environmental sound, such as Chion, Chambers and Schafer, the author proposes the soundwalk as as an expanded form of cinema, with the flexibility to provoke states of immersion was well as critical detachment. A case is made for the application of the medium within the artistic investigation into ecological and socio-political issues alongside aesthetic concerns.
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