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 Kamila Stasko-Mazur’s article, “Soundwalk as a Multifaceted Practice” the idea of the endless possibilities on what a soundwalk can consist of was immediately presented. To defer from the traditional meaning of a walk, which usually has “objectives, strategies, tactics, cultural practices and geopolitical conditions” (Chatwin, 1998; Urry, 2009: 77–95; Paquette & McCartney, 2012: 136–138), and to experience the environment in a way that paints the scope of an environment through sound rather than objective or sight.

Another prominent point made throughout the article was to utilise the soundwalk as a tool for creation. Being able to create a sense of space through audio, and with that identifying the immense detail that makes up an environment, without regarding visual queues.

Many different approaches to this practice were also mentioned and described, including: “Shadow-Walks” and “Electrical-Walks”.

The reason and purpose of the article from my interpretation was to not only define the different perspectives around what it means to experience and reflect on a soundwalk, but to also expand on those perspectives from a personal and individual mindset within the practice.