An inclusive approach to sound creation in ‘Art in-the-public interest'

Abstract

The paper takes up an approach to sound art creation in the public art sphere. Addressed in line with the perspectives on public art by some of the critical authors and artists in the field as Arlene Raven or Susanne Lacy, the paper reinforces the analysis of the sound art practice in the public sphere related to notions of commitment, ephemerality or temporality which are crucial for the 'art in-­the­‐public interest' paradigm and, broadly understood, for the public art today.