LATERAL PRACTICE AND DECENTRALIZED SOUND: REFLECTIONS ON CHIANG MAI’S SONIC ART SCENE FROM THE 2010S TO THE PRESENT

Abstract

This paper briefly examines sound-based art practice in Chiang Mai from the 2010s to the present, focusing on its socio-political dimension and departure from centralized, institutional aesthetics. Central to this discussion is the concept of what I refer to as ìlateral practice,î an approach where aesthetico-localized experimentation, collaboration, and adaptability take precedence over traditional methods that prioritize technical proficiency and, more importantly, strict adherence to established disciplines. Through examining key works by Chiang Mai local sound artists such as Anusorn Tunyapalit, Anurak Tunyapalit, and Arnont Nongyao, I reflect on how lateral practice could challenge centralized aesthetics, provide spaces for cultural resistance, and create dialogue through socially engaged commentary. This paper, developed from my panel discussion ìSound and Singularityî at PGVIM International Symposium 2024, also positions sound-based art practice in Chiang Mai as a vital framework for rethinking sonic artís role in addressing power dynamics and promoting collective agency in a localized context.