The Haptic in Soundscape Composition

This article presents the concept of a ‘haptic aurality’ in soundscape composition, an aesthetic and perceptual model derived from visual art theory, media studies and phenomenology that extends the haptic beyond its common association to vibroacoustic phenomena in the sonic arts. Included in this framework are both the standard haptic arguments, from psychology and engineering, including notions of kinaesthesia and proprioception, and varied definitions of the haptic as a not necessarily tactile mode of knowing touch that involves synaesthesia, transmodal perception and philosophical notions of sensory dedifferentiation. In adapting this survey of sometimes contradictory accounts of the haptic as parameters for compositional analysis and application, the article simultaneously creates novel engagements between soundscape composition and acousmatic practice.