Waste Whisperer: How salvaged loudspeakers and ‘e-waste’ invite creativity in spatialisation and sound installation design

Abstract In a time of mass global e-waste production, a re-evaluation of re-purposing and recycling practices feels particularly relevant not only in life but also in art-making processes, especially in temporarily mounted installations, both sonic and visual. What is junk and what is useful material? Can the use of salvaged materials also encourage creativity and innovation? This paper, weaving in theoretical frameworks from sound studies, media archaeology and eco-sonic aesthetics, suggests that using mismatched ‘garbage’ loudspeakers and unconventional loudspeaker arrays can offer sound artists creative opportunities for the exploration of new aural spaces and spatial and timbral possibilities, through the formation of sounding sculptures. Examining Social Sciences and Humanities Research Council-funded sound and art installation Waste Whisperer (2023) as a case study, which involved a bespoke 40 loudspeaker set-up of salvaged ‘trash’, the article also explores the work of artists such as Benoit Maubrey, John Wynne and Nor Tijan Firdaus, who use discarded e-waste as their primary sculptural materials, as well as Paul Rogers’ research around the concept of ‘sonic junk’. In addition, the concepts of transparency and ‘realism’ in the audio medium are discussed, positing critical reflections on prevailing techno-utopian narratives in contemporary audio communities around ‘matching’ loudspeakers and spatialisation conventions.