ABSTRACT
In a world where digital media networks and highly complex technical infrastructure forge processes of subjectivation and the collective of human relationships, what can art do? What position and which direction can art take when faced with the labyrinth of technological mediations in which we live? What about, for example, music or sound art in general where all production and perception of sound take place in and through multiple interlocking layers: electroacoustic, digital audio, and telematics? This entry attempts to address these questions with reference to the current phenomenon of a widespread and profound impoverishing of sensoriality.
