To write on the exclusion of black artists from the sound arts canon, it is important to focus in on a partticular artist’s work or methoology. I identified artists I could think of from previous knowledge, thinking on the ways in which they work with sound.

As my Knowledge of Klein is what iniially sparked my intetrest in sound art, I identified her as an artist I could speak about. Her practice involves performance using DIY instruments, as well as the manipulation of vocals and live triggered samples. Her “musical” works lack structure, rhythm and cohesiveness, likening them to the sound art works which we are introduced to throughout this course. Speaking about Klein would allow me to speak on perforance within sound art, as well as on this importance DIY cultures play in sound art. If I were to choose to speak about Klein within my essay, I would be held back in justifying my thoughts, as there isn’t any validated literature that concerns Klein’s work specifically. The documentaion of modern arts cultures, particuarly those coming from non-white backgrounds, is scarce. Therefore, Klein isn’t written into any litterature that can support my arguemnts through the academic lens. This not only exemplifies the prominence of the issue that I am attempting to discuss in this essay, but also creates an unmovable block in being able to write about Klein.

It made sense to look to artists working with installation / in a gallery context, as their works are therefore validated through an academic lense, even if not included within the sound arts canon. I decided to speak about Satch Hoyt, as his wrok with “Afro-sonic” mapping is something that really spoke to me.

I decided to speak about Actress, as I have a book that unpicks his methodology.