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In this chapter, eight coauthors reflect on their participation in two concerts, featuring artists of all abilities, called Stretched Boundaries, curated by Pauline Oliveros in 2011. Participants discuss the boundary-stretching capacities of sounding across abilities, defining “boundaries” in many ways: from ablest myths of “normal” hearing, to social lines drawn between ability and disability that become naturalized in the built environment, making it difficult to bring artists and audiences with disabilities and artists and audiences without disabilities together; to experimental sound art as a way to communicate multiple relationships to sound and its social dimensions, to the critical potential...

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