Sonic Spaces : technological access to dominance and resistance

Abstract

The sonic space can be qualified as a highly relevant layer or dimension to a political notion of public space. The material in use to claim or occupy the sonic space is sound, whose emission or reception by humans largely depends either on biological features or technological resources. Since mostly all humans are provided with equal sonic biological features, it is in the realm of sound technologies where difference appears. Whoever has access to specific sound technologies is able to claim the sonic space in particular ways beyond biological possibilities. If access to sound technologies is restricted, the possibility to claim certain areas of the sonic space will also be restricted. This risks the public and democratic qualities of the sonic space, and leads to its possible partial privatization and control. Artistic production, although far from providing a solution, can play an essential role in addressing this problem. This thesis studies the definitions and connections between public space, sound, technology, anthropology and art. This thesis is produced with the purpose to act as a theoretical framework of the artwork produced by the author in resonance with its claims.