Rather, their imagistic feature challenged musical expression by implementing a representational component into the battery of expressive devices available to composers. In their works, the Audio Realists employed imagery from the sonic environment with a versatility and savoy comparable to the artistic insight of a visual artist. My plea for a high realism in the Sonic Arts is aimed at challenging the importance for the acousmatician in continually divorcing sounds from their everyday contexts. The sonic artist, after all, is not forced by necessity to participate in the games of illusion and interpretation that composers for concert instruments are faced with. The sonic artist can feasibly go out and record the news direct from its source.
Abstraction is merely just one available working method amongst a host of others.
A mode of listening that can facilitate intellectual engagement with the meanings and messages embedded in the sounds of daily life. If sonic artists make this leap, than a new sensibility of acousmatic expression will take hold and challenge many deep rooted assumptions about listening and the experience of sound in western culture. However, the term can be used more generally in referring to the diffusion of studio-made music through Loudspeakers. For example, rather than saying that such and such a work is a tape work, one can say that it is an Acousmatic work.