Mapping Experiences of Inner Sounds

This practice based research expands the sound art discourse by analysing what I have termed ‘inner sounds’ — identifying, defining , and sounds we hear in both our conscious and in unconscious minds, similar to but different from an inner voice. Rarely, if ever, is the way we experience sounds our minds discussed in con defines ‘inner sounds’ temporary sound art discourse. This thesis 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 s 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.