Abstract
The diverse practice of soundwalking is approached through its constituent parts (walking and listening) as an ideal ‘way in’ to the appreciation of new sonic art. It is argued that, because it engages the subject in a manner that encourages an aural perception of the environment not only as a physical space but also as a space of social and political tensions, divisions and flows, it can act as an experiential foundation for understanding how sound inflects our thoughts about and our relationships to agencies, human or not, that we interact with. This in turn renders possible modes of listening that are particularly adapted to contemporary forms of sonic art. Furthermore, soundwalking ties in to important contemporary discussions about participation, its potential for radical engagement of audiences and also the various forms of mediation it involves.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
