Artikel van Douglas Kahn over zijn boek Noise, Water, Meat waarin hij opent met de volgende zinnen:<\/p>\n
I am not particularly fond of the term sound art. I prefer the more\u00a0generic sound in the arts. My last book was subtitled a history of sound\u00a0in the arts ; there was no mention of sound art and not only because it\u00a0was outside the historical scope of the book. Sound in the arts is a\u00a0huge topic, especially when one keeps in mind the synthetic nature of\u00a0the arts, i.e., the various intersecting social, cultural, and environmental\u00a0realities wittingly and unwittingly embodied in any one of the\u00a0innumerable factors that go into producing, experiencing, and\u00a0understanding a particular work. Sound art is a smaller topic, if what is\u00a0meant is that moment that artists, in the general sense of the word,\u00a0began calling what they were doing sound art . In my experience, artists\u00a0started to use sound art in this way during the 1980s, although there\u00a0were plenty of artists doing similar things with sound earlier and not\u00a0necessarily calling what they did sound art . The topic becomes smaller\u00a0still if what is meant is the term that refers to what began a few years\u00a0ago, and it is this meaning that has become well known.<\/p>\n