The field of experimental sound has long been characterised by the underrepresentation of Black and South Asian artists. This exclusion goes beyond mere lack of visibility and reflects deeper systemic issues that hinder their integration into the structures of the discipline itself. Historically, experimental sound, especially within studio-based practices, has overlooked the contributions of these practitioners. Such exclusion stems from entrenched inequalities in funding, curation, academic discourse, and resource access (Feld, Reference Feld2012; Stoever, Reference Stoever2016), leading to the marginalisation of their narratives, innovations, and methodologies.

Though experimental sound is often regarded as a space for artistic exploration, it has been shaped by what Born and Devine term the ‘invisible politics of Whiteness’ (Born and Devine Reference Born and Devine2015:139). They argue that experimental sound is frequently presented as an ethnically neutral field, where music is framed as a universal language, free from racial or cultural distinctions. This framing, however, obscures the structural biases that permeate the discipline and perpetuates the notion that experimental sound is rooted solely in Eurocentric traditions, rather than being a global, diverse field with multiple histories and influences. Thompson (Reference Thompson2017) further explores these biases in her discussion of the ontological turn in sound studies, highlighting how whiteness shapes the theoretical frameworks and methodologies within the field.

The marginalisation of Black and South Asian artists in experimental sound is not merely a matter of representation; it reflects broader institutional mechanisms through which disciplines define themselves. The historical construction of experimental music as an extension of European avant-gardism, for instance, has led to the persistent framing of Black electronic music as peripheral rather than central to the field. This disciplinary gatekeeping is reinforced through festival curation, academic curricula, and critical writing, which often overlook the radical innovations of electronic artists from the Black and South Asian diaspora, whose work challenges and expands the sonic possibilities of experimental practice. Moreover, the intersection of race and gender further compounds exclusion, as Black and South Asian women, non-binary, and queer artists often face dual marginalisation. Their contributions to experimental sound remain especially under documented, even though their work frequently redefines the aesthetics and politics of sound-based practices. The technical gatekeeping embedded in experimental sound—from costly equipment to high end spatialised audio and loudspeaker setups—can reinforce exclusion. Yet many Black and South Asian artists subvert these limitations through lo-fi, DIY, and repurposed technologies that expand sonic vocabularies outside of institutional spaces. A key example is the rediscovery of the NID Tapes—recordings made at the National Institute of Design (NID), India, between 1969 and 1972—brought to light by Paul Purgas and documented in Subcontinental Synthesis Electronic Music at the National Institute of Design, India 1969–1972 (Purgas Reference Purgas2023). These recordings, created through collaborations between Indian designers and Western electronic composers using early Moog synthesisers and tape machines, disrupt dominant Euro-American narratives of experimental music history by evidencing a parallel, deeply innovative electronic music culture in India. The role of archives in experimental music further reinforces these exclusions. Institutional choices around what is preserved, digitised, or funded for research significantly shape the field’s historical record, often omitting the experimental practices of racially minoritised communities.

This editorial seeks to further unpack the intersection of disciplinarity, exclusion, and the racialised boundaries that define experimental sound practices. The exclusion of Black electronic music from the canon of experimental sound can be traced not only to institutional gatekeeping but also to broader socio-cultural dynamics that have historically minimised Black innovation within sonic fields. The historical trajectory of experimental music is often framed through Eurocentric narratives that privilege certain aesthetic sensibilities and production methods while sidelining those that emerge from Black cultural expressions, which have long been categorised as “popular’ rather than ”avant-garde’ (Haworth and Williams, Reference Haworth and Williams2024:107). This intersection of race, class, and musical form highlights a deeper critique of disciplinarity itself, which enforces exclusions both in academic and artistic spaces.

However, the story of exclusion extends beyond Black artists; South Asian experimental sound practitioners have similarly struggled for recognition within dominant musical narratives. Despite a history of innovation, their contributions are frequently overlooked or subsumed under reductive categories such as Bollywood, Bhangra, or “world music”—labels that fail to acknowledge their engagement with avant-garde and experimental sonic practices. This marginalisation is particularly evident within the Indian diaspora, where a wealth of exploratory sound work remains critically underrepresented in discussions of experimental music. As Sharma et al. (Reference Sharma, Sharma and Hutnyk1996) argue in Dis-Orienting Rhythms: The Politics of the New Asian Dance Music, South Asian artists have long been positioned at the margins, constrained by frameworks such as “Asian Underground’ or ”world music’ that obscure the transgressive and boundary-pushing nature of their work. A re-examination of these artists’ practices within the context of experimental sound is long overdue, offering a necessary corrective to the Eurocentric structures that have historically dictated the field.

Indian diasporic musicians and sound artists have long engaged in the intricate task of negotiating their identities through the fusion of traditional and contemporary sonic practices. These artists, positioned between the historical legacies of their indigenous cultural roots and the rapid, often overwhelming forces of global modernity, they create works that destabilise conventional genre classifications and resist fixed aesthetic boundaries. Informed by a diverse array of influences, their sonic practices often articulate a dialogic interplay between the philosophical frameworks of South Asian traditions and the formal experimentation characteristic of Western avant-garde and electronic music.

The sonic landscapes these artists craft are characterised by a diverse range of techniques, including the delicate manipulation of field recordings, complex digital sound processing, and the integration of electronic music in ways informed by a profound understanding of both local and global sound cultures. Their contributions are not merely innovative but represent a form of cultural synthesis, reflecting the evolving nature of global sound and music.

Despite the richness and depth of their work, these artists and their creations are often marginalised within the broader discourse of experimental music. Their contributions—rich in both cultural and technical depth—remain largely underrepresented in academic and artistic institutions that continue to prioritise Eurocentric frameworks. This exclusion is not an accidental oversight but indicative of deeper structural biases that constrain the scope and understanding of experimental sound art. The persistence of such marginalisation shines the urgent need for a re-evaluation of the canonical structures that shape the discourse of experimental sound, particularly those that exclude the diverse contributions of Indian diasporic artists.

The lack of recognition of South Asian contributions in experimental sound practices is emblematic of broader cultural and institutional dynamics that marginalise the sonic innovations of non-white communities. In a similar vein to the experiences of Black artists, the South Asian diaspora’s experimental sound practices are dismissed or overlooked by institutional structures that deem their cultural expressions less ‘avant-garde’ or “innovative”. This issue extends beyond musical style, reflecting an ideological stance on who has the authority to define what is considered ‘cutting-edge’ or ‘pioneering’ in the sound arts.

Addressing these exclusions requires more than increased visibility; it demands a structural rethinking of how experimental sound and music are historicised, discussed, and institutionalised. This editorial introduction aims to engage with these questions critically, drawing on perspectives from critical race studies, decolonial theory, and sound studies to propose ways of unsettling, entrenched hierarchies within the field.

Critical race theorists, such as Hall (Reference Hall2015), highlight how cultural fields often promote colourblind ideologies that conceal their racialised dimensions. In the realm of experimental sound, such assumptions have led to the neglect of how racial and cultural identities intersect with sonic experimentation. By centring the work of Black and South Asian artists, this issue challenges these dominant narratives and broadens the possibilities of what experimental sound can encompass. Scholars like Eidsheim (Reference Eidsheim2019) emphasise how race and identity shape our experience and understanding of sound and performance.

A field that prides itself on pushing artistic boundaries should also commit to accessibility and inclusion—principles vital to the development of sound-based music (Landy Reference Landy2007). For experimental sound to fulfil its potential as a space for genuine exploration, it must embrace a broader range of cultural and artistic influence. This requires not only recognition of existing imbalances but active efforts to address them by expanding access to resources, education, and platforms that welcome diverse artists.

Scholars such as Goodman (Reference Goodman2009) and Eshun (Reference Eshun1998) have critically examined the prevailing paradigms within experimental sound, advocating for the inclusion of African diasporic sonic traditions that are frequently marginalised in mainstream discourse. Goodman’s Sonic Warfare investigates the role of sound as a political and technological instrument, extending the boundaries of experimental music beyond conventional and electroacoustic practices. Eshun’s exploration of Afrofuturism and “sonic warfare” highlights the interplay between experimental sound, Black cultural resistance, and speculative futures shaped by auditory experiences.

Henriques (Reference Henriques2011), in his study of sound system culture, has made crucial contributions to understanding how Caribbean-rooted sound practices, especially within sound systems, have influenced contemporary experimental and electronic music. Henriques’ work illustrates how these practices are an integral part of Black diasporic sound history, expanding the field beyond Eurocentric sonic paradigms and demonstrating the radical potential of diasporic music within experimental contexts. His analysis redefines experimental sound by positioning sound system culture as a crucial site for sonic exploration, where bass frequencies, embodied listening, and communal participation generate innovative auditory experiences.

This special issue of Organised Sound seeks to correct these imbalances by providing a platform for underrepresented artists and scholars, offering a critical counterpoint to the dominant White-majority discourse within experimental sound. The contributions presented here emerge from a call that explicitly encouraged submissions from historically marginalised communities, aiming to amplify voices often excluded from broader discussions about experimental sound.

Rather than merely addressing diversity and inclusion, this issue engages with a deeper critique of how experimental sound is framed and whose contributions are legitimised. This editorial shifts away from deep-rooted Eurocentric frameworks that have historically dominated the field. In their place, we offer a more inclusive, diverse understanding of sound practices—one that recognises the cultural and social histories that have often been sidelined. In doing so, we open the conversation to a broader range of music and sound practices, challenging the limits of what is considered “experimental” and who has the authority to define it.

The works featured in this collection span diverse sonic art and sound practices, including improvisation, computer music, noise, sound art, electroacoustic music, soundscape composition, and sound system culture. A central theme is the pioneering contributions of Black and South Asian artists, whose sound-making practices are deeply rooted in diasporic traditions, community-driven approaches, and radical artistic methodologies.

The artists and thinkers featured here have long operated outside the conventional boundaries of experimental sound. Drawing from rich cultural memories, oral traditions, and alternative modes of listening, they offer not only a challenge to traditional forms of experimental sound but also a reimagining of its purpose within the socio-political context. Through their work, experimental sound emerges not just as an artistic practice but as a tool for resistance, a medium for cultural expression, and a means of opening up new possibilities for engaging with and hearing the world.

In this sense, the contributions in this collection represent an ongoing transformation within experimental sound, led by those historically marginalised within the mainstream. These voices do not merely add diversity to the field; they expand it. The perspectives presented here are essential for a deeper understanding of how experimental sound can function in radically different ways, offering new frameworks that challenge normative listening practices.

This issue is not simply a reflection of diversity within experimental sound; it marks a significant moment in the continued evolution of the field—one that acknowledges the need to broaden the boundaries of both practice and understanding. Many contributors engage directly with methodologies that disrupt the institutional frameworks that have long governed how sound is produced, listened to, and legitimised. Through critical discourse, practice-led research, and artistic interventions, this collection exemplifies how race, identity, and experimental sound intersect in transformative ways.

We express our gratitude to the contributors whose work has made this issue possible. Their contributions not only question established narratives but also introduce fresh perspectives on the future of experimental sound. As we progress, we hope this collection acts as a catalyst for ongoing dialogue and collaboration, encouraging continuous reflection on the intricate and evolving interplay between sound, culture, and identity.

The contributions presented here engage deeply with these themes, offering perspectives grounded in lived experience, historical analysis, and artistic experimentation. By placing these voices at the centre of the conversation, we aim to disrupt conventional hierarchies and illustrate the ways in which experimental sound has always been shaped by a multiplicity of influences. This issue invites critical engagement with the histories, practices, and futures of experimental sound from the Black and South Asian diasporas.

Through this, Organised Sound seeks to not only amplify underrepresented voices but also provoke a re-evaluation of how experimental sound is theorised, documented, and institutionalised. We aim to contribute to a more equitable and representative sonic landscape—one that recognises the depth and breadth of contributions made by artists historically sidelined in the field. In doing so, we encourage readers to reconsider the dominant frameworks that have shaped experimental sound and to embrace a more inclusive, multifaceted understanding of sound practice.

This issue begins with “Bridging Gaps in Black Music Research: A Conversation on Experimental Sound” written by Hussein Boon et al, which provides a foundational discussion with the authors on the role of experimentation in British Black music and critiques the commodification and homogenisation of Black cultural production within the music industry. This article sets the stage for broader discussions on marginalisation in experimental sound practices, highlighting systemic issues such as the dominance of Western markets and the need to resist Eurocentric perspectives in sound and music. Building on this, “A Sonic Indofuturism” by Budhaditya Chattopadhyay explores a marginalised sonic worldview from South Asia that has influenced Western sound practices. It delves into the radical, non-linear notion of futurity within Indian sonic traditions and how these ideas, though not recognised at the time, provide important insights for addressing today’s planetary crises, thus offering a counterpoint to the Western-centric narratives of time, space, and subjectivity.

Next, “Soundscapes of Papua: Cultural-Based Pedagogical Approach Through Electroacoustic Music” by Patrick Hartono et al shifts the focus to Indigenous practices in Papua, Indonesia, examining how the work of composer Markus Rumbino bridges Western music education with local sound environments to foster cultural identity and confidence among his students. This article contributes to the discussion of decolonising experimental sound practices by highlighting the integration of local soundscapes into contemporary music education, demonstrating how Indigenous knowledge and sound practices are integral to broader conversations on cultural identity and alternative pedagogies.

Following this, “Small Gestures: Generating Radical Sonic Futures in an Algorithmic World” by Debashis Sinha explores the intersection of technology, AI, and community-building, offering a critical reflection on the potential of AI and machine learning tools to either replicate societal failures or serve as a platform for cultural resistance. Sinha examines how AI can be used alongside community-driven models to create new sonic futures, expanding the conversation to include the technological dimensions of experimental sound, especially within marginalised contexts.

In “Electroacoustic Confessional: Confronting One’s Artistic Past” by Michael Boyd provides a personal, introspective conclusion to the editorial. Boyd reflects on the artistic process and the act of confronting one’s previous work through a user-driven installation that symbolically destroys dubious creations. This piece brings together the broader theoretical discussions in the previous articles, grounding them in a personal exploration of artistic evolution, memory, and identity, ultimately offering a creative example of how experimental sound practices can evolve and confront their own histories.

In this issue of Organised Sound, we present further articles that, while not directly addressing the theme of Experimental Sound from the Black and South Asian Diaspora, nonetheless offer valuable insights into the evolving discourse surrounding experimental sound, materiality, and technological infrastructures. Each of these pieces in their own way challenges traditional approaches to composition, performance, and the very agency of sound—issues that align with our ongoing investigation into underrepresented perspectives in sonic arts.

Olivia Louvel’s “Baschet’s Voice Leaf: The Voice Wrapped in the Sculptural Leaf” examines the interplay between voice and materiality in François and Bernard Baschet’s 1965 acoustic sculpture. The Voice Leaf, an origami-folded stainless steel sheet, transforms vocal performance through its intrinsic sonic properties, inviting an exploration of the embodied and spatial dimensions of sound. This article not only foregrounds the sculptural as an active participant in sonic creation but also expands on how alternative, non-traditional instruments challenge our perceptions of voice and resonance. While its focus remains within a European lineage, the study of unconventional sound-making practices speaks to the broader discourse on experimental sound and its intersections with material culture and technology.

Samuel Lynch, Helen English, Nathan Scott, and Jon Drummond’s “Modular Composition: An Approach Towards Structural Plasticity in Music”, originally approved for the over-full issue 29/3, delves into composition as a dynamic and ever-evolving process. Here, modularity is explored as a method for structuring musical works through adaptable sequences and patterns, allowing for real-time reconfiguration. Drawing from interactive music systems and video game sound design, this approach proposes a fluidity in composition that contrasts with more rigid structural models. While this article does not engage with cultural critique, its exploration of improvisation, reconfigurability, and sonic adaptability offers a technical counterpoint to the discussions of agency and sound-making explored earlier in this issue.

Finally, “Investigating the Physically Hidden: Auditory-Based Illusions and Effects for Sound Installations” by Florian Pausch, Piotr Majdak, Veronika Mayer, and Bernhard Gál offers a timely and thought-provoking exploration into the use of auditory illusions and perceptual effects as compositional tools within sound installations. As we continue expanding the field of experimental sound to be more inclusive of historically underrepresented communities, it is vital to consider the rich potential that psychoacoustic phenomena—such as auditory-based illusions—hold for both scientific inquiry and artistic expression. While these phenomena are typically examined in controlled research settings, this article foregrounds their aesthetic and conceptual relevance, particularly when creatively employed in installation contexts. By mapping the relationship between psychoacoustic research and sound art, the authors provide a framework that may inspire innovative compositional approaches—especially for artists from marginalised backgrounds, who might engage with perception through culturally specific listening practices. The authors not only categorise and visualise these effects but also propose ways in which their application can foster new sonic experiences. In doing so, they open experimental sound to broader epistemologies of listening, contributing to a more inclusive, critically reflexive, and sensorially attuned discourse within the field.

The contributions in this issue present diverse perspectives on experimental sound, engaging with alternative acoustic forms, critiquing technological frameworks, and expanding compositional methodologies. Each article offers valuable insights that contribute to the ongoing redefinition of experimental sound, aligning with the issue’s central critique of underrepresentation and exclusion. These articles demonstrate how the marginalisation of Black and South Asian artists has led to a narrow, Eurocentric understanding of the field, one that often dismisses alternative methodologies, narratives, and innovations.

The issue thus calls attention to the persistence of these systemic biases, acknowledging the need for proactive efforts to engage Black and South Asian artists in experimental sound. By providing a platform for these underrepresented voices, this issue challenges the predominant discourse and broadens the field’s definition of what constitutes “experimental” sound. However, it also highlights the gaps in current submission processes, revealing that a more proactive approach is necessary to foster greater diversity and participation from marginalised groups.

In line with the work of Weheliye (Reference Weheliye2014) and drawing on Hall’s (Reference Hall1997) exploration of cultural representations and signifying practices, we urge a rethinking of how experimental sound is theorised, documented, and institutionalised. This issue marks a critical moment for the field, calling for sustained efforts to incorporate non-Western perspectives and cultivate collaborative networks that facilitate the visibility of Black and South Asian voices. Such efforts will ensure that experimental sound embraces a fuller range of cultural contributions, expanding its possibilities and enriching its future development.

Ultimately, this issue aims to inspire ongoing reflection on the intersections of race, identity, and sound, while encouraging and inviting new approaches to experimental sound. By centring marginalised voices, we seek to contribute to a more equitable, representative, and expansive future for the field. Through this process, experimental sound can evolve into a more dynamic and inclusive domain, one that reflects the varied histories, identities, and cultures that have shaped it. We hope this collection serves as a catalyst for lasting transformation, advocating not only for recognition but also for the redistribution of resources, authority, and narrative control within experimental sound.