The book addresses a major gap in the current sound art scholarship: the role of audience participation. It offers a survey of participatory sound art from its origins in the historical Avantgardes to the non-institutionalized forms of sonic creativity in contemporary digital culture and proposes an innovative theoretical framework for analysing such phenomena rooted in Pragmatist aesthetics, affordance theory and postcritique. Combining artwork analyses with qualitative studies, it focuses on three principal aspects of participatory sound art: the ways the materialities of the artworks facilitate and structure the participatory processes; the interplay of the creative agencies of the artists and the participants; and the postcritical approach to sound art’s politics, unfolding through the participants’ affective gestures. In considering these dimensions, the book contributes to the growing fields of both sound studies and participation studies, as well as to curatorial practice regarding sound art and participatory art.weiterlesen