William Schrimshaw’s Immanence and Immersion: On the Acoustic Condition in Contemporary Art is a thought-provoking exploration of the role of sound in contemporary art. By examining the immersive and immanent qualities of sound, the book redefines our understanding of presence, perception, and participation in the context of artistic experience. It challenges the traditional dominance of the visual and opens up new ways to think about space, sensory engagement, and the relationship between art and its audience.

One of the key strengths of the book is Schrimshaw’s detailed analysis of sound’s capacity to shape spatial and emotional experiences. He highlights how the intangible nature of sound allows it to transcend the boundaries of visual media, creating conditions where audiences perceive and experience space in entirely new ways. This concept of the “acoustic condition” shifts the focus from observing art to being enveloped by it. His discussion of sound installations illustrates how auditory immersion transforms passive spectators into active participants, inviting them to navigate and co-create meaning within the artistic environment. This participatory quality of sound art emphasizes the immediacy and intimacy of the experience.

The book’s treatment of “immanence” is particularly compelling. Schrimshaw describes immanence as a state of complete immersion in the present moment, distinct from traditional modes of detached observation in art. Sound art achieves this by dissolving the boundaries between audience and artwork, fostering a profound sense of integration with the environment. For instance, he examines how low-frequency vibrations resonate with the human body, erasing distinctions between external phenomena and internal sensations. This heightened engagement encourages audiences to reconsider their relationship with both art and the broader world around them.

Schrimshaw also critiques the commercialization of immersive experiences in contemporary art. He warns that, with the advent of virtual reality and other immersive technologies, sound art risks becoming commodified and reduced to mere entertainment. This shift, he argues, threatens to undermine the experimental and critical potential of sound art, turning it into a product rather than an exploration. Despite this concern, he acknowledges that technological advancements provide valuable tools for pushing the boundaries of sound art. The challenge, he suggests, lies in maintaining a balance between leveraging these tools and preserving the philosophical depth of artistic inquiry.