When reading the articles by David Kobler and Kamila Stasko-Mazur I found myself altering my initial perspective of the definition “sound walking” right away, and falling into a more personal means of viewing the practice.

In David Kolber’s article, I was immediately transported to the scene in Vancouver, Canada; placed on Kits Beach hearing nothing but subtle waves and a calm tide. This is the scene where a perspective from Hildegard Westerkamp is reviewed and expanded on.

The purpose of this article stood out to me as presenting a new focus within listening; to hear what cannot be heard. By focusing on the scale and magnitude of sound within environments that cannot be seen, such as the communities of barnacles in the sea, allows for an artistic perspective to be developed outside of normal human existence.

I was moved especially by the phrase “tiny voices” in the article as the reflection on Westerkamp’s work and practice focused on not what we hear and experience, but the hidden worlds, within our daily view, that we should listen to. This article partially stood out to me as more of a philosophical reflection on listening rather than as a means of practice like Kamila Stasko-Mazur’s article. The art of listening, so to speak, seems to rely more heavily on what cannot be heard, rather than what can.