Mapping experiences of inner sounds

Mapping Experiences of Inner Sound - UAL Repository 

Mapping Experiences of Inner Sound - Academia.com

Abstract
This practice-based research expands the sound art discourse by identifying, defining, and
analysing what I have termed ‘inner sounds’— sounds we hear in both our conscious and
unconscious minds, similar to but different from an inner voice. Rarely, if ever, is the way we
experience sounds in our minds discussed in contemporary sound art discourse. This thesis
defines ‘inner sounds’ and contributes to the field of sound art discourse by arguing that a
deeper understanding of our relationship to inner sounds informs our wider understanding of
sound, specifically our understanding of sound as a cultural phenomenon.

Identifying the lack of an adequate vocabulary in the English language with which to discuss
sound and inner sound experiences, the thesis develops a taxonomy of inner sounds, which
allows for a more nuanced and detailed analysis of inner sound experiences.
In addition to outlining a taxonomy for inner sound, the thesis analyses several art and
performance works, including my own, further developing several theoretical considerations
for inner sound and listening experiences. Chapter 4, ‘The danger of inner sound’, examines
our relationship to auditory hallucinations, discussing why inner sounds are often perceived
as dangerous. Chapter 5, ‘Collective inner listening’, asks whether collective inner listening
is possible, and how that develops our understanding of inner sound experiences and sound
art theory. Chapter 6, ‘Threshold listening’, draws on affect theory to argue that the
properties of inner sound discussed in previous chapters situates inner listening and inner
sound at the threshold, and evaluates how this changes our understanding and discourse of
sound art.

Hearing Things  - Academia.com

A sister publication to the thesis. While there are overlaps and both compliment each other, they can also be read independently. 

Introduction:

In 2014 I officially started my research project, investigating ‘inner sounds’ – sounds we hear in both our conscious and unconscious minds, similar to but different from an inner voice. My interest in the idea of inner sounds had started a couple of years earlier, with the piece Scores for Silence’ (2011). In this piece, I asked the audience to use a number of everyday found objects to trigger or suggest an imaginary, ’inner’ sound. After exhibiting Scores for Silence, I could not stop thinking about inner sounds – what where they? Did everyone experience them? That became the start of this research project.

This book contains a record of the pieces I have created as part of my research into inner sound. The practice has been an important part of the research process. Of- ten, ideas and the0ries that are only starting to take shape, surface and gets ‘worked out’ within both the ‘doing’ and the subsequent analysis of the practice. The theory, on the other hand, has been an important inspiration and influence on developing the practice. While all the pieces can be presented on their own, apart from the research, taken together they form an important documentation of the development of my research project.