# Solidian Soundscapes: Artistic Research on Spatial Quality of Sound in Soil

Paul Goutmann<sup>1,2*[0009-0009-4889-0579]</sup> and Diane Schuh<sup>1,2,3*[0000-0003-4155-6868]</sup>

<sup>1</sup> CICM-MUSIDANSE-Paris 8 University, Saint-Denis, France

<sup>2</sup> Graduate School ArTeC, Aubervilliers, France

<sup>3</sup> UMR STMS 9912 (CNRS-IRCAM-Sorbonne Université), Paris, France
paul@goutmann.net
schuh.diane@gmail.com

**Abstract.** This contribution presents the research-creation project SOIL (Soil Observation through musical Interaction and Listening), which investigates soil as a sonic and compositional medium. Drawing on ecoacoustics, sound ecology, landscape studies, and music technology, the project proposes to develop new listening devices and compositional strategies that foreground the vibratory and spatial properties of soil. Conducted in urban gardens in Saint-Denis (France), with an opening towards other landscapes such as glaciers, the project is rooted in collaborative practices with the musicians of the Longleash trio and different audiences, in order to foster a shared and sensitive attention to urban soils. Our hypothesis is that listening to and composing with soil allows us to challenge utilitarian and extractivist views, and instead reveal its ecological, symbolic, and memorial dimensions. While building upon methodologies from ecoacoustics and passive acoustic monitoring, our project proposes a complementary approach grounded in qualitative, sensitive and spatial listening. By designing multichannel recording devices adapted to the ground, we aim to open new possibilities for musical composition that engage both the material and symbolic poetics of soil. These experiments, documented online are tested during public events such as soundwalks and concerts. They aim to foster an attentive and situated perception of the underground environment, exploring how musical composition can mediate a sensitive relation to soil.

**Keywords:** Soundscape · Structure-born Sound · Geophone Array · Spatial Audio · Sound Space · Auditory Landscape · Soil

<figure><img src="image_1.png" /></figure>

All rights remain with the authors under the Creative Commons Attribution 4.0 International License (CC BY 4.0).

Proc. of the 17th Int. Symposium on Computer Music Multidisciplinary Research, London, United Kingdom, 2025

* equal contribution
# 1 Introduction

Soil is a medium commonly reduced to a utilitarian function for humans: a foundation for construction and circulation or a resource for extraction. Yet, it is a complex environment, rich in biodiversity that is often overlooked [12], and serves as the "memory keeper" of our planet, an archive composed of overlapping layers of past human and non-human cultures [22]. The contemporary perception of soil, dominated by a logic of exploitation and extractivism, tends to impoverish, destroy, and silence it. Consequently, the research-creation project SOIL (Soil Observation through musical Interaction and Listening) aims to transform our relationship with soil by fostering attention to living organisms through musical listening and composition inspired by these environments. This article present the findings based on the following problematic: how these spatial recordings can be treated both as a mediation device and as true musical material in order to engage reconfiguration of poetics and representation of soil. In the first section, we discuss the ecological and aesthetic implications of our research project. In the second, we present the first prototypes and the methodology for capturing underground sounds. In the third section, we analyze the results and explore future directions for the project.

# 2 Listening/Composing with soil: a sensitive approach of sound ecology

## 2.1 An essential ecosystem for life, an unthought to be revealed

Soil is often perceived as a surface, a space for circulation, a foundation for construction [12], or a resource leading to extractivist practices [1]. This perception has resulted in a form of deterritorialization and destruction: soils are stripped, sealed, and transformed into "non-soils". However, soil is a vital ecosystem essential for the development of life, providing irreplaceable ecosystemic services [29].

Building on the idea that "our relationship with soil generates different ways of thinking about and experiencing it" [22], we advocate for a sensitive and qualitative approach to soil, one that emerges through a musical relationship of listening and composition. Through the SOIL project, we sought to reconfigure how soil is perceived, revealing its richness and depth via diverse mediation formats. These soundscapes, created using recording devices adapted to the studied environment are designed to be shared with diverse audiences (non-academic public, children and musicians).

## 2.2 State of the art

In music, exploring the soil means approaching vibration through solid structures: a structure-borne approach of sound [18]. In the field of musical listening, structure-borne listening approaches are rare [4]. Notable contributions include
Cassandra Felgueiras's structure-borne instruments and Pascale Criton's "so-
lidian listening", which advance inclusive sonotactile approaches by conveying
sound through solid materials [5]. In the field of sound ecology and practices such
as field recording [9], or environmental sound capture, structure-borne experi-
ments remain scarce. Existing works often focus on a naturalistic rendering of
recorded environments [24, 30]. The field of bioacoustics is beginning to develop
a set of tools and methodological approaches for monitoring soils [31, 15, 19, 26,
20]. These methods are tailored to their discipline, primarily focusing on pas-
sive monitoring of biodiversity through quantitative acoustic indices. However,
based on our initial research, there are currently no recording devices designed to
capture the spatial qualities of sound (movements, localization, envelopment, di-
rectional activities) within the soil suited for musical and compositional projects.
Therefore, one of the project's goals is to propose geophone array prototype for
structure-borne sound fields, adopting a musical approach that is attentive to
the spatial dimensions of sound.

## 2.3 Choosing our fields

The SOIL project relies on two research sites that serve as our recording envi-
ronments. These two locations were chosen for their role in resisting soil arti-
ficialization in urban areas. The Garden in motion at the Maison des Sciences
Humaines et sociale Paris Nord (MSHPN), established in 2015 on a former in-
dustrial wasteland, was designed as a water reservoir and as an ecosystem where
living organisms self-organize within a post-industrial city. Meanwhile, the Liz
Christy Garden in New York was created in 1973 by Liz Christy and the Green
Guerillas group. This garden emerged from ecological struggles against urban
densification and in favor of biodiversity development in the city. Despite their
different management approaches, both gardens function as ecosystems of re-
sistance against the challenges of urban soil densification and artificialization.
We hypothesize that their soils hold an interesting sonic diversity [27], which
we aim to explore and reveal through underground sound recordings, as well as
through the restitution and recomposition of these recorded soundscapes. These
sites thus provide a valuable framework for investigating themes of sound ecol-
ogy, particularly in the context of developing listening-based attention devices
for soils. In this article, we explore our experiments in the first field, the MSHPN
garden were we built our methodology.

3 Exploration Pipeline & Methodology

This section presents the recording specifications, followed by the morphologi-
cal identification process, the design of the audio engine, and finally, the sound
diffusion. The entire workflow was first tested in a monophonic recording setup
to refine the method before expanding to a multipoint recording setup. All the
monitoring and processes are performed using High-Order Ambisonic (HOA).
For now, each geophone signal is projected onto virtual sources to enable peri-
phonic listening along with the advantage of an intermediate representation that
enables system-independent processing and facilitates binaural auralization<fnref n="4" />.

## 3.1 Recording Technics

Although numerous devices have been developed for the detection of directional energy, their use often remains limited for creators due to financial, technical, and logistical constraints. The present project does not aim to isolate a specific type of source (seismic, anthropogenic, or non-anthropogenic). Instead, it seeks to capture traces within the audible domain, regardless of their origin, while privileging a practical, music-oriented approach as a preliminary step toward the development of a more refined geophone array. For this purpose, we employ sensors readily available on commercial platforms, requiring no prior expertise in electronics from musicians. For an overview of sensors for sound in soil, see [19]. To achieve this, we used geophones [8], from *LOM Audio* (10-1000Hz, 80.V/m/s) which are electrodynamic transducers with a moving coil and a resonance frequency of 14 Hz. This type of transducer has an omnidirectional pickup pattern and is sensitive to electromagnetic waves. In our project carrying musical and aesthetic approach, electromagnetic interference in some recordings is considered an integral component of the signal rather than an artifact to be systematically removed.

For the first outdoor recordings, two configurations have been tested: (1) Placing it at the surface (2) Burying the geophone at a depth of approximately 30 cm to isolate geophones from the aerial sound. In the end we chose the first option, in the attempt of avoiding noises caused by the soil's displacement. The recordings were carried out at different times of the day and at various locations within the garden of MSHPN notably beside a compost<fnref n="5" />. Additionally, for each recording, a Neumann KM183 was placed above the geophone as a reference point for the surrounding sound activity at our recording location. Once the chain was tested for the monophonic setup, a set of four geophones were placed in a tetrahedral configuration for the underground setup, and a First Order Ambisonic (FOA) microphone (Sennheiser Ambeo) was positioned on the surface. A primary array was tested: an equilateral triangle inscribed in a circle with a 15 cm radius, featuring three geophones at the top and one approximately 15 cm below the center of the circle (see Fig. 1).

<footnote n="4">⁴ All tests were conducted at the *Centre de recherche en Informatique et Création Musicale* (CICM) sound testing studio described in section 3.3 and binaural auralization using Lecomte’s binaural decoder [16] based on Head Related Impulse Response (HRIR) Neumann KU 100 [2]</footnote>

<footnote n="5">⁵ We specifically chose the proximity of a compost, as it appeared to present higher levels of biophony. Recordings were conducted between January and May 2025, from 9 AM to 7 PM, for a total duration of approximately 20 hours.</footnote>
<figure><img src="image_2.png" /><figcaption>**Fig. 1.** Recording session in the MSHPN' garden with tetrahedral array of geophones and FOA microphone</figcaption></figure>

## 3.2 Finding the substrate

In these recordings, different kinds of sound substrates are present: predominantly anthropophony (such as subway, car traffic, electromagnetic interference, airplanes), along with probable instances of biophony and geophony (e.g., water movement in the ground) [23]. First, the recordings were listened to in their raw form and then processed using low-pass filtering at 1 kHz and normalization. In the initial short recordings (<5 min.), we used a spectrogram to locate sound events. Once the recording method was stabilized, we conducted longer recordings lasting several hours. At this stage, we calculated the Acoustic Complexity Index (ACI) [21], as implemented by the Soundecology project^6, on 30-second fragments to identify the most significant variations in the recordings. Even though it is difficult to argue that the sample data are representative of the environment, this relative richness of morphologies remains relevant for musical approaches.

## 3.3 Low-Frequency Spatialization

Because the sound material from the takes is mostly below 1000Hz with a concentration under 100Hz, it seems important to explore emphasis of low-frequency content spatialization. In practice, subwoofers are frequently neglected in loudspeaker setup for spatialization. Most Ambisonics decoding tools are

<footnote>^6 https://ljvillanueva.github.io/soundecology/</footnote>
loudspeaker-agnostic, and they don't take into account the type of speakers
used. Zotter recommends to apply a high-pass filter around 70-100Hz to the
Ambisonics stream and in parallel send the first Ambisonics channel with a
low-pass filter to the subwoofer section [32]. The monitoring setup used for the
project is composed of 16 Genelec 8030A (58-20kHz) arranged on a hemisphere
and 4 Amadeus ML18 subwoofers (35-350Hz) as shown in the Fig. 2. It offers
the possibility to experiment with the subwoofer integration, so we tried two
approaches to handle the low frequencies: adaptation of HOA 3D stream and a
HOA 2D encoding parallel stream.

<figure><img src="image_3.png" /><figcaption>Fig. 2. Loudspeaker setup representation in MATLAB</figcaption></figure>

The first approach involved taking the HOA 3D stream and retaining only
the harmonics where $|m| = l$ ($Y_0, Y_{-1,1}$ and $Y_{1,1}$) and sending them to a first-
order 2D decoder for subwoofers. The second approach was to perform a parallel
2D encoding/processing at first order, where only the azimuth of each source
was provided to the encoder. The first approach has the advantage of saving an
encoding block but results in a loss of low frequencies when sources are projected
with a non-zero elevation. Therefore, the second approach was preferred. Initial
tests conducted in the studio showed that when we project a source onto the
horizontal plane and adjust its azimuth using the speakers and subwoofers, the
localization of low frequencies provided by the subwoofers is clearly identifiable.

3.4 Spatial Audio Processing

The spatiality of sound is often reduced to spatialization and acoustic modeling
of spaces. The practice of spatialization invokes models of spatial representation
dominated by Euclidean representations that reduce sources to points [10]. In
this context, we can identify two main approaches to spatial processing: (1)
"Source-oriented", which inherits from the Euclidean conception of space (2)
"Field-oriented", which applies global processing to the soundfield.

The source-oriented process takes a mono signal as input and projects the processed result into space [17, 14, 25]. This approach is the most commonly used. The other well-known strategy, based on the work of [28, 11], involves applying digital audio processing directly to the signals from the ambisonic stream. To generate diversity, we tested both approaches. Based on the different sound morphologies identified during the substrate extraction phases, we defined a sound dictionary, to which we applied both approaches (source-oriented granulation and field-oriented granulation). The resulting sounds were rich and musically exploitable. In the piece presented in Section 4.1 D.Schuh deployed both approaches including an original monophonic granulator, an ambisonic feedback matrix and the tools developed within the framework of *abc.lib* [3].

# 4 Experimenting with the devices

## 4.1 Mediations: exploring soil soundscapes with different audiences

Returning to the project's hypotheses - namely, whether it is possible to make the soil audible as a space endowed with depth and spatiality, and whether it is possible to awaken different publics to these dimensions by means of listening - we tested two types of mediation devices. The first concerns mediation devices intended for non-academic publics, and for children in particular, in the context of research outreach and popularization of science. This section describes these devices and their impact on the audiences encountered. The second type of device - a concert-installation - is described in the next section.

The SOIL project was presented on 17 April 2025 during the "Mini festival scientifique sonore" organized by Les Férus de sciences (a science-culture institution run by Métropole du Grand Nancy). This festival drew several hundred people, mainly families accompanied by children (between 6 and 18 years old), who were able to experience listening to the soil recordings on headphones, in a binaural rendering. Headphone listening to the binaural rendering<fnref n="7" /> had several effects on the different groups who were able to experience it.

The publics were able to perceive the impact of anthropophony: there is constant vibration due to road traffic, nearby construction sites, and underground networks. The reproduction of the sound space, allowing for effects of source localization and trajectory, reinforced the sensitive immersion in what one could call the soil soundscapes. Listening to these spatial audio<fnref n="8" /> made a strong impression on some children, ranging from surprise to wonder. Listening to the soil - and, *a fortiori*, listening to soil as a sound space - enabled us to validate our initial intention: to convey the idea that soil is not a surface but a sonic milieu, a sound ecosystem endowed with spatiality, in the same way as aerial sound ecosystems.

<footnote n="7">⁷ without processing apart from a low-pass filter around 1500 Hz</footnote>

<footnote n="8">⁸ Audio example: https://soil.hypotheses.org/ecouter-carnet-de-recherche</footnote>
<figure><img src="image_4.png" /><figcaption>Fig. 3. children listening with headphones</figcaption></figure>

The second mediation device that we tested was trialed on 6 June 2025, in the garden in motion of the MSHPN, during the Ministry of Culture event *Rendez-vous aux jardin*. During this event two groups of around ten adults were first able to visit the garden in a guided tour by Marianne Hérard<fnref n="9" /> in order to understand its ecosystem before stopping at listening stations. Four stations were set up, each consisting of a geophone sensor connected to a Zoom recorder, itself connected to closed-back headphones. Here the public were able to experiment with real-time listening to the garden's soil. Those who experienced it perceived the mainly human activity characteristic of a post-industrial city such as Saint-Denis. The groups were then invited to a mini-lecture in the garden during which they were able to listen to our recordings diffused in FOA-2D over a quadraphonic system. Once again, the discussions surrounding these listening sessions provided audiences with an opportunity to articulate their responses to these sensitive forms of mediation. Such a device proves effective for disseminating research and raising awareness of soil sonic ecology among non-specialist audiences. For this axis of the project (awareness-raising) it would seem pertinent in future projects to associate ourselves with ecoacousticians specializing in soil biodiversity. Indeed, our project is grounded in an approach to musical and sensitive listening. We describe in the following section another type of device that called for musical composition.

## 4.2 Earth as earth: a way to explore the substrate musically

Another central question of the project was whether the spatial qualities and timbres of sounds recorded in soil can function as a musical substrate for com-

<footnote n="9">⁹ Head of outreach and scientific programs at the MSHPN</footnote>
position, and, if so, whether the public restitution of such a piece can also operate
as a sensitive form of mediation. Commissioned by the Longleash trio<fnref n="10" />, D.Schuh
addressed this question in the mixed piece *Earth as earth*.

The soil recordings served as the piece’s point of departure. Initial textures
were used either as given or lightly sculpted with equalization. A custom-built
granulator was then employed to develop the granular dimensions latent in these
initial soil textures. Building on the fixed sound structure and timbre, the real-
time electronics were organized around spatial sound synthesis inspired by the
"spaces of the soil", whose opacity to human traversal gives them an abstract,
imaginal character. In this way of thinking the sound milieu, circulation and
transformation of sound are controlled through a feedback matrix in Max (see
Fig. 4) that composes spatiality in the ambisonic latent space, allowing for in-
determinacy and hybrid timbral and spatial quality in sound<fnref n="11" />

<figure><img src="image_5.png" /><figcaption>Fig. 4. *earth as earth* Max patch</figcaption></figure>

*Earth as earth* is a mixed music piece which comprises three large sections built from three fixed soundtracks, with an improvised interlude between Parts II and III. The interlude is guided by notated cues specifying playing modes (see Fig. 5); the performers improvise from these cues, punctuated by sonic objects derived from the soil recordings. The poetics of the work and the prop-

<footnote n="10">¹⁰ https://www.longleash.org</footnote>

<footnote n="11">¹¹ Audio example: https://soil.hypotheses.org/earth-as-earth-diane-schuh</footnote>
<figure><img src="image_6.png" /><figcaption>Fig. 5. *earth as earth* score excerpt, improvisation motif</figcaption></figure>

erties of the soil sounds directly informed the search for extended techniques and timbral inflections among the musicians (including forms of instrumental "granulation" and imitative responses to micro-events in the recordings). The public presentation adopted the "concert-installation" framework articulated by Jean-Luc Hervé: a site-responsive performance, often partly outdoors, that combines written score and loudspeaker diffusion to extend musical listening into the environment and, privileging vigilant, ornithologist-like attention, to divert focus from visual spectacle [13].

The restitution unfolded in two moments: (1) First a concert performance of the piece without prior explanation, performed on the 12 channels HOA2D system in the MSHPN Auditorium; (2) Then a garden session including (a) an account of the project with listening to selected excerpts, (b) an open discussion between audience, project team, and performers, and (c) in-situ listening to the garden's soil with geophones.

This experiment made legible how soil sounds mobilize distinct imaginaries for both the composer and the performers, shaping interpretive choices and modes of improvisation. Audience exchanges after the concert proved pertinent as mediating moments within Artistic Research: they provided listening keys, retraced the compositional process from the piece to the soil, and surfaced heterogeneous imaginaries of the underground. One comment was particularly fertile: the piece based on the act of amplifying to reveal otherwise inaudible elements constitutes not only a *zoom in energy* but also a *zoom in space*. Our capture device (a tetrahedral geophone arrangement with 15-cm edges) effectively became, played through the 12 channel system during the concert, a listening milieu of several meters in diameter. In this experience, this observation made us think
about the possibilities of our recording as a scalable, spatial substrate for composition and for public mediation. The next section expands this Artistic Research dispositif in another ecosystem.

## 4.3 From ground to glacier des Bossons

The formalisation of a geophone array and the assurance of methodological reproducibility fall beyond the scope of the SOIL Project. However, the methodology initially developed in the MSHPN garden has been tested in other ecosystems. Within the framework of the artistic-research academy *Montagnes Métamorphes*<fnref n="12" />, P. Goutmann deployed a geophone array on the Bossons glacier (Mont-Blanc massif), near the *refuge des Grands Mulets*, at an altitude of 3000 m. Glaciers, being in constant motion, generate micro-vibrations that are sometimes imperceptible to the human ear: emerging fractures and cracks, internal movements driven by gravity, thermal variations, water circulation, and mechanical stresses. At this altitude, both biophony and anthropophony are significantly reduced compared to urban environments. The contrast between the near disappearance of biological and anthropogenic sound sources and the intensification of geophony driven by global warming provides a relevant field of analysis and interpretation from an artistic point of view.

<figure><img src="image_7.png" /><figcaption>Fig. 6. Installation of the geophone array</figcaption></figure>

<footnote n="12">¹² This academy supported by the Ministry of Culture and led by Laurent Chanel develops immersive arts-science residencies in the mountains. It studies landscapes and phenomena to transform them into stories and deploys an Altitude Artistic Academy.</footnote>
Moving from soil to glacier required practical and technical adaptations. For example due to the hardness of the ice, installing the geophones necessitated the use of a hammer and a fine chisel to create openings for the spikes. Under these conditions, constructing a three-dimensional array demanded more extensive handling than on solid ground. Plus the geophones are not waterproof so we decided to use plastic bags. The tests were conducted at the end of July, but adverse weather conditions (including more than 30 cm of fresh snow on the recording day) restricted the exploration perimeter. Access to the most active parts of the glacier was not possible. This very first attempt result in four-hour recordings with a few ponctual sonic evenments in the low frequencies and nearly continuous snowfall affected the entirety of the recordings<fnref n="13" />.

# 5 Conclusion

In this article we highlighted the potential of recording and processing the sound from soil for musical and sound ecological purposes. We presented a hands-on method to record the spatial qualities of soil activities with materials accessible for musicians. We highlighted four main points: the presence of a diverse sonic substrate in the soil recording takes, the musical potential of low-frequency spatialization and processing, the musical potential of the material captured through these recordings and we emphasized the potential of the spatial qualities of the take using a simple geophone array to create periphonic recording-diffusion chain. We showed how this recordings could serve both as a mediation tool, making different audiences listen to the solidian's soundscape of the soil, and as a rich musical substrate. We showed how both the dispositifs, mediation and composition, could initiate discussion about anthropophony and reconfiguring poetics about the soil now viewed as an ecosystem and not a surface. Using ACI, we identified several sonic morphologies across our recordings. Despite a relatively small dataset, we observed a wide range of spectral and temporal dynamics. Our attempts at spatializing these recordings by combining a periphonic loudspeaker setup with subwoofers yielded clearly perceptible and musically exploitable results. The spatial processes applied to these sounds generated a rich variety of spatial qualities. Thus, we demonstrate that simple underground periphonic recordings and treatments can be effectively rendered in both transaural and binaural systems, capturing spatial qualities that can be musically exploited. Now, we will work on a more accurate geophone array and study its performance inspired by the work of [6]. These first experiments show that the various mediations have been able to transform perceptions and even imaginary at the micro-local level. In the near future, we will continue exploring these hypotheses in other environments and with other audiences, notably in glacier ecosystem and New York's community gardens, following our aim to raise awareness of the diversity of non-human living through musical listening [7].

<footnote n="13">¹³ Audio example: https://soil.hypotheses.org/glacier-des-bossons-paul-goutmann</footnote>
**Acknowledgments.** This research has been supported by the MSHPN (USR 3258) through the AAP 2025. It also benefits from a "Jazz & New Music" grant by the Albertine Foundation, and the foundation for Contemporary Arts. The authors would like to express their gratitude to the Longleash trio (Pala Garcia, Mika Sasaki, John Popham). The authors gratefully acknowledge the support of the Ministry of Culture through *Montagnes Métamorphes* Academy and Laurent Chanel.

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