Introduction to Sound Arts #2

Keywords to describe my practice.

Deep Listening (Soundscape, Improvisation, Composition, Song) – Deep listening (and, in response, composing) to me is how we are able to kind of access a deeper sense of symbiosis with the world and life energies around us. (Deep listening) as a form of composition is how music becomes a spiritual part of our lives, existing among our physical and metaphysical environment as a benevolent force that may enter our spaces. Soundscape composition, improvisation, or songwriting & music composition are forms of manifestation of deep listening. Listening can open doors to empathy for each other, and for nature and for life itself – and invite us to pay deeper attention to things which we may not have previously.

Climate Change (Field Recording, Nature) – For example, listening can open doors to thinking about the climate emergency. Listening to the natural world allows us to cultivate a sense of empathy, and to see it as a relative rather than a resource. The soundscapes of nature which are constantly occurring may shift and change with the changing of habitats, migration patterns and so forth. Climate justice is a portal into a better world, one where everyone has what they need to live in comfort, dignity and safety. Climate justice is expansive, and encompasses all of our collective struggles.

Queerness (+ Feminism) – Queerness is expansive to me. Queerness is imagning beyond capatlist, colonalist and cis-het ideals. Queerness is vast, is the possibilty of someting more expansive and joyful than what cis-het society has to offer. Being LGBTQIA+ is only a gateway to being queer – only because having these identites forces us to find alternative routes, to imagine something so much better: something more joyful and expansive. It is because these communites are so full of love and possibility that we show the world another way of being. Queerness is land-back, is anti-capatilist, is free Palestine. Anyone who has this vision of a better world is queer. Anyone who chooses joy, freedom and expansiveness over oppression and tyranny is queer. 

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Introduction to Sound Arts #1

Mandy-Suzanne Wong writes: “Often sound artists explore the relationships between sound and space or environment; sound and technology; sound and listening”. My current practice as a sound artist centres on the relationship between sound and words. My current practice includes “soundscape compositions”, “field recording”, “ambient music”, “soundwalks”, “sound design” (Wong, 2013) and songwriting.

Sound is something I exist and have existed significantly with throughout my life. A kind of centre point which my life and its cycles revolve around and which is also all around me.

I also think of Hiroshi Yoshimura, who wrote in the liner notes for his environmental music album ‘Surround’: “If Surround can be listened to as music that’s as close to air itself, allowing us to enter each listener’s sound scenery, or as something that exists within a new perspective, expanding the middle ground between sound and music, and transforming it into a comfortable space, it would be much appreciated.” (Yoshimura, 1986). (My italics)

The way that sound exists in space-time, whether to be experienced through Pauline Oliveros’ practice of ‘deep listening’, or to be a part of the background of one’s life as Yoshimura intended is one of the primary attentions of sound artists. The way in which we listen to everyday sounds and how we relate to this “middle ground between sound and music” is a large and notable part of what sound art is.

References:
Wong, M.-S. (2013). ‘Sound Art’. [online] Available at: https://www.oxfordbibliographies.com/display/document/obo-9780199757824/obo-9780199757824-0106.xml [Accessed 1 Oct. 2025].

Yoshimura, H. (1986). ‘Surround’. Available at: https://hiroshi-yoshimura.bandcamp.com/album/surround

Oliveros, P. (2005), pg 10-12. ‘Deep Listening: A Composer’s Sound Practice’. Available at: https://www.agosto-foundation.org/sites/default/files/upload/oliveros_pauline_deep_listening_a_composers_sound_practice_2005.pdf


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