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This paper establishes a philosophical framework for sonification, addressing its ambiguous identity across scientific, artistic, and design contexts. By integrating Gustavo Bueno's materialist gnoseology and Gilbert Simondon's philosophy of individuation, the authors clarify sonification's technical identity through systematic data-to-sound relationships while highlighting its adaptability across various applications. The framework delineates the distinction between technical identity and pragmatic use, offering a coherent understanding of how sonification interacts with music and aesthetics, which is crucial for researchers and practitioners in the field.
Sonification is not just a method but a transcategorical practice that maintains its identity across diverse contexts, reshaping how we understand its role in science and art.
Sonification operates across scientific, artistic, and design contexts, yet its identity remains conceptually ambiguous: is it music, a scientific method, or a hybrid practice? This paper presents a philosophical framework that treats sonification as a coherent, transcategorical practice. Drawing on Gustavo Bueno's materialist gnoseology, we identify its operative core through systematic data-to-sound relationships that define its technical identity. Complementing this with Gilbert Simondon's philosophy of individuation, we show conceptually how sonification adapts across contexts while preserving its operative structure. By distinguishing between technical identity and pragmatic use, this framework clarifies the relationship between sonification, music, and aesthetics, providing researchers and practitioners with a philosophical framework to navigate the field's diversity while maintaining its epistemic and operational integrity.
