In our third issue of the fifth volume of Resonance: The Journal of Sound and Culture, we are delighted to present the first part of a two-part special series contributed by Chicago artist and educator Lou Mallozzi, titled “Rekindled Present: Sound in Japanese Art, 1950s–1970s.” The selection of essays and interviews focus on the works by Tanaka Atsuko, Hitoshi Nomura, Murakami Saburō, Hikosaka Naoyoshi, and Imai Nori, each of whom was creating art in the 1950s, ’60s, and ’70s that utilized sound, before the term “sound art” had been adopted by artists, historians, and critics. In his introductory essay Mallozzi reflects on first experiencing the five artists’ works and how his curiosity as an artist led him on a unique and personal journey of discovery.

Divorcing these sounds from their contexts and from the five artists who ushered them into my listening world somehow echoes my own destabilizing and...

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