I love that sound arts is inherently hard to define.
The fact that the art form itself asks us so many questions gives us an almost infinite amount of room for experimentation. Take the work of Yoshi Sodeoka, Etienne Krähenbühl or Max Neuhaus, for example. Think about how different the experience of these artists work would be. Yet, I would still place most of their pieces in this sound arts puzzle. I would like to highlight some of my initial interests.
Although a lot of the works we have been shown during lectures thus far has been very traditional (created by white, bourgeois men), I believe sound arts to be limitlessly freeing. For around three years I have been watering down my work to make it have some sort of ‘musical correctness’, when in fact I should have been trying to find the sounds which resonate within myself.
I believe sound arts to be an intrinsically political form in the context of the 21st century. Everybody is aware of the lacking diversity there is in the history books, this is especially relevant to sound arts as it is still a relatively young practice. But in the short amount of time since sound arts was coined, progress has been made in giving voices to those who were previously voiceless. Though there is still work to be done, I have felt the warmth of passion about this topic when talking to peers in and around shows and exhibition spaces.