Can “sound” be “exhibited” at all? Isn’t that a basic fallacy, given the nature of sound? In addressing these fundamental questions from a conceptual leaning, one needs to comprehend sound’s specific problem as a curatorial artifact. In the discourse of sound art curating, instead of the “sound object,” the perspective of the project suggests exploring the cognitive-associative thought processes triggered by the process of listening, drawing lines between the source of sound and the listener’s mind that apprehends it. The curatorial process intends to frame the open-ended experience of various fertile auditory situations exploiting sound’s subjective nature at the listener’s end.
sound art, curating, Object Oriented Ontology, artefact, situational and relational practice