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Charting the Scene(s) of Sonic Arts in Hong Kong

Published online by Cambridge University Press:  15 December 2022

Ryo Ikeshiro ,
Damien Charrieras  and
Permagnus Lindborg
Ryo Ikeshiro*
Affiliation:
City University of Hong Kong, Hong Kong
Damien Charrieras*
Affiliation:
City University of Hong Kong, Hong Kong
Permagnus Lindborg*
Affiliation:
City University of Hong Kong, Hong Kong
*
Emails: [email protected]; [email protected]; [email protected]
Emails: [email protected]; [email protected]; [email protected]
Emails: [email protected]; [email protected]; [email protected]
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Abstract

This article analyses recent developments of sonic art in Hong Kong. Based on a series of in-depth interviews with 23 local sonic art practitioners over the past six years, we discuss the contextual understanding of what constitutes ‘sonic art’ among local practitioners, along neighbouring terms such as ‘electroacoustic music’, ‘experimental music’ and ‘computer music’. We also give a description of the new generation of sonic art practitioners who emerged over the past ten years, contributing to a renewed sense of professionalism. These developments can be understood in relation to four aspects: a strong cluster of interrelated higher education institutions; a shift in public policy supporting ‘art and tech’ projects and cultural organisations; specific individuals, practitioners deeply invested in what we here define as sonic arts, acting as passeurs, connecting underground and academic milieux; and the international integration of Hong Kong-based sonic artists and promoters.

Type
Article
Information
Organised Sound , Volume 27 , Issue 3: Chinese Electroacoustic Music Today , December 2022 , pp. 369 - 378
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Copyright
© The Author(s), 2022. Published by Cambridge University Press

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