Bernie Krause and His Sound Archives. Between Wild Nature and Embodied Relation

The paper aims to compare two natural sound archives by Bernie Krause, Wild Sanctuary (being developed since 1968) and Dawn Chorus (established in 2020), from the perspective of ecology paradigms changes that have occurred over the years. The author assumes that both of the abovementioned projects are consistent with each other in respect of the goals formulated by Krause – they are thought to affect their listeners and evoke ecological attentiveness among them – but differ in terms of their structure and presupposed strategies of enhancing human-environment entanglements. The first part of the article is dedicated to the description of analysed projects. Also, the article considerations are being positioned as the amplification of the previously published paper by Renata Tańczuk (who treated Wild Sanctuary as an Anthropocene archive). Secondly, the author investigates the visibility of the archive production process in the forms in which they were publicly shared. Afterwards, the conceptualizations of the Nature underlying both of the archives are described. Finally, the author presents the differences in the affective agencies of Wild Sanctuary and Dawn Chorus, coming to the conclusion that the latter project, not the former one, responds to the contemporary requirements imposed on the pro-environmental artistic and research activities.

The paper aims to compare two natural sound archives by Bernie Krause, Wild Sanctuary (being developed since 1968) and Dawn Chorus (established in 2020), from the perspective of ecology paradigms changes that have occurred over the years. The author assumes that both of the abovementioned projects are consistent with each other in respect of the goals formulated by Krause – they are thought to affect their listeners and evoke ecological attentiveness among them – but differ in terms of their structure and presupposed strategies of enhancing human-environment entanglements. The first part of the article is dedicated to the description of analysed projects. Also, the article considerations are being positioned as the amplification of the previously published paper by Renata Tańczuk (who treated Wild Sanctuary as an Anthropocene archive). Secondly, the author investigates the visibility of the archive production process in the forms in which they were publicly shared. Afterwards, the conceptualizations of the Nature underlying both of the archives are described. Finally, the author presents the differences in the affective agencies of Wild Sanctuary and Dawn Chorus, coming to the conclusion that the latter project, not the former one, responds to the contemporary requirements imposed on the pro-environmental artistic and research activities.