Abstract

This thesis explores the auditory experience of cyclists, delving into perceptions and interactions with sound that are unique to that mode of transportation. I drew upon autoethnographic research methods to investigate the intricate relationship between the processes of cycling and listening. Borrowing from Dylan Robinson’s concept of listening positionality, I expanded upon that concept to explore the possibility of a temporal-based, cyclist ear. Central to this exploration is the conceptual framework that the cyclist ear categorizes sounds into three distinct Levels: Level one known as self-produced sounds, Level two known as safety sounds, and Level three sounds known as ambient sounds. Self-produced sounds encompass any sounds created by the cyclist. Safety sounds refer to auditory cues signaling potential hazards. Ambient sounds denote sonic landmarks or soundmarks that aid in giving the cyclist a sense of place. To explore this theory in more depth, I utilized autoethnographic research approaches, including sound recordings and written notes, to attune to these three different Levels. Through this process, I determined that listening is indeed impacted by the act of cycling. The cycling ear does exist and does sort sound into different categories, including utility. However, the lines between the different categories can be blurred as a single sound can serve multiple purposes at once. Ultimately, this research advocates for the integration of auditory considerations into urban planning and transportation infrastructure, recognizing the significance of sound in shaping the cycling experience.