Aarhus University Seal / Aarhus Universitets segl

Medialities of participation in sound art

Research output: Contribution to book/anthology/report/proceedingBook chapterResearchpeer-review

Audience participation is a strong thread running through much of the sound art practice all the way to its beginnings in the 1950s and 60s, yet it remains underexplored in the sound art discourse. At the same time, the kind of participation inherent to sound art diverges significantly from the ideas of participatory art and relational aesthetics dominating the contemporary art discourse as well. Sound art emphasizes the corporeal and cultural aspects of its medium, thus the participatory processes it invokes are also media-specific and inextricable from the material and structural aspects of the artwork. In this chapter, I investigate the connection between mediality and participation in sound art, discussing the kinds of interactions that are made possible by sound artworks and mechanisms by which these interactions are facilitated and communicated to the participants. To do so, I apply the concept of affordance to a select number of artworks, classified into three environment types: local, networked and augmented. I argue that the participatory affordances of sound artworks situated in each environment type exhibit certain similarities, showing how material and structural aspects of the artwork facilitate, affect and are affected by participatory processes.
Original languageEnglish
Title of host publicationCultures of participation : arts, digital media and cultural institutions
EditorsBirgit Eriksson, Carsten Stage, Bjarki Valtýsson
Place of publicationAbingdon
Publication yearSep 2019
ISBN (print)9780367218386
ISBN (Electronic)9780429266454
Publication statusPublished - Sep 2019
SeriesRoutledge Research in Cultural and Media Studies

See relations at Aarhus University Citationformats

ID: 156031377