A few weeks ago, on June 11th of 2020, composer and sound artist Jeremy Woodruff invited Sanne Krogh Groth and me to a longer interview session. Being a member of the famous sound art project space Errant Sound in Berlin, he wanted to know from us how we had conceptualized The Bloomsbury Handbook of Sound Art and how all these highly diverse and rather unconventional conceptual cores composed into this volume came actually together.
Whilst he had contributed himself a great and insightful chapter on the aesthetics of permaculture (chapter 2), he obviously was not involved in all of our editorial work with the other 34 authors, co-authors and interviewees in this handbook.
Woodruff’s intricate and insisting questions helped us in our conversation to carve out the concept and the various insights running through this handbook and, at least partially, altering the discourse around and within what has come to be called sound art in the broadest sense. The result is a concise, sonic introduction into this handbook as a whole.
You can listen to our conversation, with some added sound examples right here, on the website of Errant Sound: