Abstract
This essay aims to examine the significance of Bikyōtō generation’s works using sound technology in the early 1970s. While Mono-ha, which attracted much attention at that time, distanced itself from technology, the Bikyōtō generation actively incorporated various media in their expression. Moreover, their ways of using sound technology remarkably differ from those of the “Environmental Art” in the late 1960s, which were eager to employ new technology. By comparing the Bikyōtō generation’s ways of using sound technology with those of the Environmental artists, this essay argues that the former could establish an originality of expression through developing heterogeneity inside the “environment” that was conceptualized by the latter.
