Sonic Alterities: Reimagining Histories and Technologies in Sound Art

This chapter explores the multifaceted history of sound art, highlighting the often-overlooked contributions of women, people of colour, and non-Western artists. Challenging traditional narratives, and drawing on the theoretical writings of Linda Nochlin, Tara Rodgers, and Erik Steinskog, it highlights how societal biases have excluded diverse voices historically and seeks to broaden this view by acknowledging such voices in contemporary sound art. The chapter draws attention to the importance of feminist and decolonial contributions, particularly within the context of Brazilian sound art, Afrofuturism, and the 'sonic color line'. It also examines initiatives such as Women in Sound Women on Sound (WISWOS) and similar projects aimed at increasing visibility and representation for marginalised groups. By challenging the traditional ontological and pedagogical frameworks, it calls for a re-evaluation of how we engage with and teach sound art, advocating for a more inclusive and comprehensive understanding of sound art's history and present practices. This exploration and advocacy is not about rewriting history but about enriching it by integrating diverse perspectives and addressing historical exclusions.