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Arts & Communication Push the ENVELOPE

1 year of the Push the ENVELOPE activities. The earlier indirectly. Separately, other authors declared that they
st
effort of Sound Brood in 2017 marked only the beginning have no known competing financial interests or personal
of a much longer journey toward meaningful change in relationships that could have influenced the work reported
the educational and support systems for students and in this paper.
emerging artists. As the funding period coming to an
end in 2024 for the entire project, it is clear that 2 years Author contributions
of work in providing place-based, accessible spaces and Conceptualization: Karen Yu
resources is insufficient to firmly establish a culture that Writing–original draft: Karen Yu
promotes creativity as an everyday practice. Therefore, it Writing–review & editing: PerMagnus Lindborg
is essential to extend and amplify projects like Push the
ENVELOPE, following the example of Ubimus educational Ethics approval and consent to participate
frameworks; to create intersections for professional Not applicable.
and non-practitioners to foster effective and inclusive
contributions; and to prepare young artist to be more Consent for publication
11
self-affirming and ready for musical and artistic learning. 20
Not applicable.
At the time of writing, more than half of the participants
of the camps in 2023 have established themselves as artists Availability of data
who work with sound as a medium. Their work is helped Not applicable.
and supported by other local institutions and underground
collectives. This is evidence of the success of the approach Further disclosure
taken by Push The ENVELOPE. As we build on these
experiences and move forward, CMHK will continue to An early version of this text was presented at the Ubimus
th
join forces with major institutions in Hong Kong to provide 2024 Macao 14 International Symposium on UbiMus on
more opportunities for emerging artists, and we will seek October 31, 2024. It has been extended and thoroughly
new ways to advocate and promote cross-disciplinary revised for the Special Issue for this journal.
practices in sound. References
Acknowledgments 1. Ikeshiro R, Charrieras D, Lindborg P. Charting the
scenes of sonic arts in Hong Kong. Organised Sound.
This article is made possible with the support from the 2022;27(3):369-378.
board and team members of Contemporary Musiking
Hong Kong, including Samson Young, Margaret Yang, Eric doi: 10.1017/S1355771822000450
Chan, Steve Hui, Teresa Kwong, Him Cheung, Winston 2. Mouillot F, Charrieras D. Interview with Samson young.
Yeung, Tina Yeung, Fung Wing Lam, and Ian Tang. We In: Charrieras D, Mouillot F, editors. Fractured Scenes:
also acknowledge all artist-members of this project who Underground Music-Making in Hong Kong and East Asia.
had contributed to the preparation of this manuscript, Springer Nature; 2021. Available from: https://link.springer.
including Lawrence Lau, Kin Lam, AK Kan, and Larry com/book/10.1007/978-981-15-5913-6 [Last accessed on
Shuen. 2025 Jan 10].
3. Hsin F, Kuan-Ting W. An Activity as a Platform for Dialogue:
Funding The Development and Influence of the Lacking Sound Festival;
Push the ENVELOPE is a project proposed by the Artistic 2019. Available from: https://map.tfam.museum/storage/
files/shares/ma/ma192/ma0192-05.pdf [Last accessed on
Director (first author of this article), Karen Yu, on behalf 2024 Nov 17].
of Contemporary Musiking Hong Kong, and funded by
the ACDFS of the Culture, Sports, and Tourism Bureau 4. Alperson P. The instrumentality of music. J Aesth Art Crit.
of Hong Kong SAR. Contemporary Musiking Hong Kong 2008;66(1):37-51.
is an arts organization supported by the Hong Kong Arts doi: 10.1111/j.1540-594X.2008.00286.x
Development Council under the 3-year Grant Scheme. 5. Cox C, Warner D, editors. Audio Culture: Readings in
Modern Music. Massachusetts: Continuum; 2004.
Conflict of interest
6. Timoney J, Lazzarini V, Keller D. DIY electronics for
PerMagnus Lindborg is the Guest Editor of this special ubiquitous music ecosystem. In: Lazzarini V, Keller D,
issue, but was not in any way involved in the editorial and Otero N, Turchet L, editors. Ubiquitous Music Ecologies.
peer-review process conducted for this paper, directly or England: Routledge; 2020.

Volume 3 Issue 3 (2025) 8 doi: 10.36922/ac.6236