ABSTRACT
Sonic memories are an essential part of our cultural experiences. Sound is also an essential part of artistic creation for diasporic Black artists, as demonstrated in art historical research and interviews with artists. The personal and collective dimensions of sonic memory are intertwined and shaped by various factors, including individual experiences, cultural norms, and historical events. By engaging with sonic memories, artists create new and innovative works that resonate with audiences on a personal and collective level. Maldonado-Torres offers that the coloniality of being, power, and knowledge, or the enduring patterns of power, particularly in relation to social relations, language, sexuality, and economy, is hyper visible in the lived experiences of the most oppressed. Rather than viewing perception as a series of separate and isolated events in different senses, Gibson emphasizes the importance of perception as an integrated and interactive activity.
