This thesis explores the relationship between human corporeality, space, sound and
noise in twentieth-century art. The thesis introduces some novel concepts, notably
that corporeality, noise and the notion of an expanded field form the bedrock of
contemporary sound-based art practice, or what the author refers to as sound-as-art.
The terms Corporeal Sound Art and Non-Corporeal Sonic Art are introduced
as a way to highlight the traditional distinction between corporeally inclusive
sound art and corporeally exclusive acousmatic music. Ultimately, this thesis
extols extramusical elements in the realization of sound-based artwork and
champions human corporeality and noise as central concerns for sound artists and
sonic artists in our current age of digital mediatization.