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The Sonic Gathering Place (SGP) is a prototype urban furniture installation that uses sound design to enhance the biophilic effects of plants. It uses field recordings from four different biomes in South-Eastern Australia mixed with plants that are representative of those biomes. The SGP has a circular seating structure comprising four integrated planter boxes, each with a single speaker. Nature-based field recordings play through the four-speaker array to create an immersive audio playback experience, though without masking the existing acoustic environment of the installation site. This paper focuses, as practice-led research, on the design process of the installation that encompasses four disciplinary approaches: soundscape design, biophilic design, field recording and urban furniture. Innovatively, it then reports a quantitative survey of the user's experience of the SGP that hones understanding of human response to the design. Measured user-responses to the SGP, collected through a smartphone-based questionnaire, were overwhelmingly affirmative of the design, including a positive change in self-reported mood resulting from the visit to the SGP. These responses were observed with introduced sound levels set only marginally louder than sound levels that existed before the installation. The results signal a wider role that biophilic sound installations might play in urban landscape design. [ABSTRACT FROM AUTHOR]

Sound and new media arts appear to be both historical and contemporary means to invest in the notion of more-than-human. Although the concept was formulated in the late 1990s (Abram 1996), certain related practices in art works exploring machine or animal agency have existed since the 1960s, especially in new media arts using sound, video, and electronic and computational technologies. [ABSTRACT FROM AUTHOR]

As airport terminals continue to expand, the level of noise steadily increases, and yet when we think of an airport lounge, we tend to recall an image rather than a sound. Simultaneously, modern airport terminal design incorporates sound media artworks that appear to be adding to the existing cacophonic soundscape. Understanding that sound plays a formative—albeit often nonconscious—role in the shaping of our sense perception of (airport) space, in this article—resorting to Gilles Deleuze and Félix Guattari's radical empiricism—I speculate an immanent and metallurgical approach towards airport sound art, which puts forth aesthetic experience as essentially entangled with airport space and the sensorium. Engaging with two of an American artist, Christopher Janney's airport sound and visual installations, the article posits sonorous assemblages to explore a sonic aesthetic of airport experience. In probing the boundaries of routinized perception, it thus forays into an extraperceptual dimension of spatial aesthetics. [ABSTRACT FROM AUTHOR]

A tension between freedom and constraint is characteristic of improvisation practice and pedagogy, presenting challenges for teachers/workshop leaders. To create musical focus in ensemble improvisation, some sounds are encouraged, whilst others are edited out, ignored or marginalised. This article investigates improvised sounds as central or subaltern, asking how marginal sounds such as musical 'heckles' and off-task sounds can be accepted meaningfully into musical frameworks. I question what can be learned from subaltern sounds. How can power structures within the improvisation workshop be subverted by listening to sounds outside teacher-defined frames, and how can listening become inclusive without sessions descending into chaos? [ABSTRACT FROM AUTHOR]

What Really Counts? was a sound art installation created in 2019 through a collaboration between a sociologist and a multidisciplinary artist, working with in-depth interviews with young men recorded as part of a British feminist social research project in 1990, exploring sexualities and the threat of HIV/AIDS. In this article, we describe the evolution and staging of the sound art installation project, situating it within interdisciplinary literatures on the use of sociological archives and reanimation of analogue media in a digital age. Working within a fractured tradition of curated sociology, we consider the potential of interdisciplinary collaboration for refreshing sociological analytic practice, revealing the unrealised potential of archived data sets and utilising temporal displacement as a generative analytic strategy for feeling history. We are working with a 30-year time span characterised by a stretching of intergenerational experience in relation to expectations for and mediation of sex/gender. The project attempts to realise the potential for an experimental sociological practice through the staging of open-ended past–present encounters. [ABSTRACT FROM AUTHOR]

The Hamilton Perambulatory Unit (HPU) is an artist-research collective that has been holding public walking and mapping events since 2014. Our participatory mapping framework that we call the 'strata-walk' focuses attention on the multiplicity of sensory, material, imaginative, socio-political and historical layers that make up place, usually resulting in the creation of maps that document a particular place and time through the contribution of our workshop members. In this short essay, I focus specifically on Strata-Walking Port Hope, the HPU's community sound-mapping project in Port Hope, Ontario, which was commissioned by Critical Mass: A Centre for Contemporary Art, and produced through conversations with over two dozen Port Hopians of all ages. The outcomes include a mobile locative media sound application that maps the resulting sound collages composed of snippets of conversation, site field recordings and found sounds. Strata-Walking Port Hope provides a glimpse into the memories, stories, histories, and sonic environments of Port Hope. [ABSTRACT FROM AUTHOR]

Both the sound and the sea are characterized by a constant fluidity and transformation, which has been considered as a creative foundation for expanded sonic practices that identify, capture and experiment with natural elements. The text aims to explore how the idea of sonification as a process of translating qualities and data into sound constitutes the departure point towards contemporary sound practices that encourage deeper listening and immersive experiences. Taking the sea-responsive sound installations of French artist Félix Blume, Rumors from the Sea and Suspiros as a foundation, the article presents a reflective conversation between Félix Blume and Bill Psarras on aspects of such artworks that highlight ideas of sea and limens, listening experience, sound ecology and sonic instruments through performative, inventive and participatory lenses. [ABSTRACT FROM AUTHOR]

What is it to be the sea? Explorations of the constitution of the sea – what it comprises, where its borders are, how it incorporates novel entities – offer meaningful insights into the nature of boundaries and identity that are as relevant for humans as they are for the imperilled oceans. At the advent of the post-Anthropocene, when global processes perceptibly react to human impacts, this article elaborates on watery artistic investigations inspired by the mutability and permeability of seas. Anchoring its arguments in wide-ranging examples from transdisciplinary artistic practices, the article challenges conventional notions of boundaries and identity, proposing a new way of conceiving of the self, inspired for and by the seas: The Constitution of the Sea. [ABSTRACT FROM AUTHOR]

Richard Rolle constructed a life, and a life's work, in and with sound. Earlier studies have noted the aural quality of the hermit's oeuvre, commonly assessing the melody of his mystical transport and the sonic patter of his texts as indexical vehicles for loftier spiritual truths. This essay seeks to do something different with Rollean sound: to shift the modality of our reading toward a radically open ear so we can listen to Rolle's writings without translating their sonority otherwise. By following Rolle's lead and repositioning literary experience away from signifying language toward the sounds through which language signifies, we come to appreciate Rolle as a sophisticated sense-maker whose mystical output invites us to theorize a medieval sound art. Adapting elements of Salomé Voegelin's philosophy of sound art, this essay reconsiders one of the best-known Rollean episodes, the narration of his first audition of canor in Incendium amoris , and offers a reading of one of the least-studied Rollean texts, the alliterative prose-poem Gastly Gladnes. Encountering these texts through a practice of close listening allows us to notice how Rolle's spiritual sensorium, lived practices, and texts cooperatively generate "sonic possible worlds," spaces of futural sonic becoming that make bold claims to the nature of the true. Attended to with care, Rolle's sound art spurs a radical reimagining of the aesthetic ambit and devotional invention of the late Middle Ages, even as it renovates our assessment of Rolle's textual output and challenges the intellectual norms of literary scholarship. [ABSTRACT FROM AUTHOR]

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Copyright of Avant is the property of Centre for Philosophical Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The editorial in "Antennae: The Journal of Nature in Visual Culture" explores the impact of AI on art and creativity. The conversation between Giovanni Aloi and ChatGPT delves into how AI can enhance artistic processes, the ethical implications of AI-generated art, and the potential for AI to instill empathy for the natural world. The dialogue also touches on biases in AI responses, the definition of art, and the intersection of art, culture, and ecology. The journal is praised for its interdisciplinary approach to exploring the representation of nature in visual culture. [Extracted from the article]

Throughout the 1970s, a drive towards the diversification of mediums available to artists led to artists working across numerous mediums not usually associated with visual art. While some came to work with sound as a central focus in their practice, most used sound as a medium to be employed in particular artworks for conceptual purposes. The paper is focused on five audio and sound exhibitions presented in New York City between 1978 and 1984. These large group exhibitions were held in alternative art spaces and not-for-profit art galleries and have received little critical attention beyond reviews published in local newspapers and art magazines. As such, these exhibitions have all but disappeared from the history of sound in art and from art history in general. I will argue that this cluster of group shows signal to an emergent practice that was moving past the post-medium condition and conceptual art towards the postmodernism of the 1980s. These exhibitions point to an understanding of sound as a medium of visual art that is at odds with contemporary scholarship in the sonic arts, which favours a music-based understanding of approaches to sound within the art gallery. [ABSTRACT FROM AUTHOR]

This paper explores do-it-yourself (DIY) and maker practices within sound and electronics through a close reading of Electronics and music maker magazine, first published in the UK in 1981 by electronic component supplier Maplin electronics. Comparisons are made between these sonic cultures of making of the early 1980s and more contemporary activity and commentary within the field. Themes used to make these comparisons are community, activism, learning and teaching, and experimentalism. Differences and similarities between sonic DIY practices defined as orthodox and experimental are considered; questions relating to what constitutes sonic DIY practice in a changing sociotechnical landscape are raised; shifting community identities and tensions within sound technology interest groups are discussed; and motivations and methods for the support of learning sound electronics are compared. The paper makes a novel contribution to contextual histories and theories of DIY sound and technology practices, which typically cite radio hams of the early twentieth century and experimental music of the 1960s/70s as precursors to current activities. It brings a breadth of scholarship from the wider field of maker culture to bear on sound-specific DIY practice. [ABSTRACT FROM AUTHOR]

The authors, an artist and a geophysicist, present three different approaches to art-science projects, depicting hybrid models of interdisciplinarity, particularly via sound art. They first cooperate to create an art installation using sonified seismic data collected in Antarctica, moving then to vibrational data at a seismic deployment in the Jornada desert, New Mexico, envisioning a site-specific listening approach that would effectively merge art and science. The authors propose new models of collaboration in ever-more-urgent global responses to the climate crisis, revealing what we might call the "voices" of climate change. [ABSTRACT FROM AUTHOR]

While urban sound management often focuses on sound as a nuisance, soundscape research suggests that proactive design approaches involving sound art installations can enhance public space experience. Nevertheless, there is no consensus on a methodology to inform the composition of sound installations through soundscape evaluation, and little research on the effect of composition strategies on soundscape evaluation. The present study is part of a research-creation collaboration around the design of a permanent sound installation in an urban public space in Paris (Niches Acoustiques by Nadine Schütz). We report on a laboratory study involving the evaluation of composition sketches prior to the deployment of the installation on-site. Participants familiar with the public space (N = 20) were exposed to Higher-Order Ambisonics recordings of the site, to which compositions of the sound installation pertaining to different composition strategies were added using a soundscape simulation tool. We found three principal components relevant for evaluating and comparing sound installation sketches: pleasantness, familiarity and variety. Further, all composition sketches had a significant effect on the soundscape's familiarity and variety, and the effect of the compositions on these two components was stronger when composition strategies involved abstract sounds (sounds which were not clearly identifiable). [ABSTRACT FROM AUTHOR]

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte & Ensaio is the property of Arte & Ensaio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte & Ensaio is the property of Arte & Ensaio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte & Ensaio is the property of Arte & Ensaio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte & Ensaio is the property of Arte & Ensaio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte & Ensaio is the property of Arte & Ensaio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte & Ensaio is the property of Arte & Ensaio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ESTOA: Revista de la Facultad de Arquitectura y Urbanismo de la Universidad de Cuenca is the property of ESTOA Revista de la Facultad de Arquitectura y Urbanismo de la Universidad de Cuenca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ethos (0860-8024) is the property of John Paul II Institute, Faculty of Philosophy, John Paul II Catholic University of Lublin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Maguaré is the property of Universidad Nacional de Colombia, Departamento de Antropologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Nursalim Yadi Anugerah is an Indonesian modern contemporary artist, who uses the drones of Kledik, an instrument from Kalimantan in his artwork called 'Lawing'. Anugerah has engaged in addressing socioenvironmental concerns through an interdisciplinary approach. His unique approach towards drone and sound art makes him an appropriate choice for this research. The primary objective of this research is to inquire the use of drone in Indonesian Sound Art within the context of 'Lawing' put forward by Anugerah. The research methodology adopted for this study is Sound Ethnography. The data was collected through semi-structured interviews, observations, and literature review. Manual coding and triangulation were used to analyse and interpret the data. Various themes and subthemes were derived through the analysis of the interviews and observations. The researcher found relevant themes like aesthetic and experiential quality of drone, and innovation with drone. This study examines the aesthetics of lawing including tone, texture, resonance and noise within the context of drone. The concept of Lawing is the connection of humans and breathing at a personal level. Anugerah used an air compressor for his performance, which is an innovative way of approaching Kledik to create drone. Ambisonic sound systems and specialized microphones have been purpose-designed to craft such artworks, creating a unique spatial experience, and distinctive experiential dimension for the audience. The incorporation of technology with ethnic music in these artworks, emerges as a central driver of creativity and novelty. The study of 'Lawing' illustrates Anugerah's innovative approach to transform the melodic rhythmic drone of the traditional Kledik into a continuous drone with various density in texture. Anugerah has been actively creating sound art, fusing philosophical and cultural underpinnings of Dayak's with contemporary technology. 'Lawing' not only presents the Dayak people's belief, but also provoke listeners to understand the environmental issues faced in Kalimantan. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

One of the most important Romanian composers, thinkers and teachers from the second half of the 20th century, illustrious representative of modern European and Romanian thinking, with spiritual amplitude, Aurel Stroe - who passed away in 2008 - would have turned 90 in May 5th 2022. An emblematic thinker of Romanian music, Aurel Stroe launches revolutionary concepts - especially at the artistic level: the concept of morphogenetic music (the catastrophes theory) is one of the most important, acting at the extra-musical level as a force which reflects itself in permanent discourse disruptions (with a poetic, tensional function). Aurel Stroe is one of the most original composers of the post-Enescu generation, dubbed the MUSICIAN WHO SAW IDEAS because he could not limit himself to the composition process itself, but he was a unique thinker of the musical phenomenon in the art of sounds in the second half of the 20th century, in Romania. [ABSTRACT FROM AUTHOR]

The author connects reviving her piano practice after a 20-year hiatus with her deaf right ear "learning" to hear again with a cochlear implant. She touches upon parallels between the physiology of the instrument and her own body, and how they inform the inquiry for her Leonardo CripTech Incubator/Thoughtworks Arts residency project Song Without Words. [ABSTRACT FROM AUTHOR]

What happens when speech synthesis applications are incompatible with certain software? This essay considers how inaccessibility within the software and programming language Max is sonically, aesthetically, culturally, and ideologically amplified through a case study of "plus noise unlock," which is the sound made by the author's computer when she attempts to use a screen reader within a patcher window. [ABSTRACT FROM AUTHOR]

Two major poets of the Russian Neo-Avant-Garde—Gennady Aygi and Elizaveta Mnatsakanova—created textual works that transgressed the limits of language and the borders between the arts. Each pursued their own method of the visualization and musicalization of verbal matter, yet both share a particular musical sensibility, which guarantees the integrity of the linguistic structure of their verse, despite the fragmentation and logical incoherence of its elements. The atonal (serial) musical tradition has a special significance for these experimental poetics of minimalism. Mnatsakanova, herself a musicologist, who was friends with Dmitri Shostakovich, not only used the techniques of contemporary music composition in her visual and sound poetry, but also collaborated with electronic musicians in her recorded poetry performances. Aygi experimented with language, not only crossing the boundaries between music and poetry, but also between sound and silence. For him, music was a way of expressing pre-verbal subjectivity and reproducing signs of meaning that are hidden from ordinary perception. In his poems, Aygi brought together Chuvash folk music with experimental techniques of minimalism, correlating his own work with such Soviet unofficial composers as Andrey Volkonsky and Sofia Gubaidulina. This paper will address the issues of transmutation between verbal, visual, and sound art in poetic minimalism of the Soviet-era underground. [ABSTRACT FROM AUTHOR]

INCANTATIONS is a collection of sixteen visual and sonic experiments centred around the idea of score as spell. The project was curated and produced for The Witch Institute in 2021 by Brandon Hocura and Naomi Okabe, who together run the record label Séance Centre. Pairing a visual/test-based artist with a musician/composer, they commissioned original works in which a spell (visual score) was interpreted and manifested in sound. The contributing artists include Felicia Atkinson (Belgium), bill bissett (Canada), adrienne maree brown (USA), Scott Gailey (Canada), C.R. Gillespie (Canada), Beverly Glenn-Copeland (Canada), David Horvitz (USA), Benjamin Kilchofer (Switzerland), Idris Rahman (UK), Mehrnaz Rohbakhsh (Canada), Gavilan Rayna Russom (USA), Tomoko Sauvage (Japan/France), Dani Spinosa (Canada), Mona Steinwidder/Museum Of No Art (Germany), Yu Su (China/Canada), Andrew Zukerman (Canada). [ABSTRACT FROM AUTHOR]

This paper provides a broad but comprehensive foundation for understanding the widespread practice of using the bioelectric properties of plants to create music and sound. We begin by describing how plant biosignals are harvested by several commercial electronic devices and a custom-designed interface. Then, we analyze large data samples of potential musical content generated by such technologies. Next we investigate the artistic and musical choices artists make when they interpret this data, analyzing work by British sonic artist Augustine Leudar, the Philadelphia Museum of Art7s Data Garden Quartet, and Japanese composer Mamoru Fujieda. Finally we position the entire enterprise within a posthumanist semiotic framework, specifically referencing work by Uexkull, Deleuze, Krampen, Watkins, and Marder. This interpretation allows us to speculate on the nature of communication and musical collaboration that can potentially take place between the human and vegetative domains. [ABSTRACT FROM AUTHOR]

This paper describes the design process for The Mind at Work, a light and sound art installation using networked devices, as a case study in working creatively with complex and unknown technological systems. The art installation evoked the development of a reusable framework for making scalable, re-configurable, audiovisual systems, while creating a specific artwork for a gallery exhibition. The development process was observed systematically to understand how creative coders navigate the challenge of integrating the technical and aesthetic considerations simultaneously. Building on existing design literature, the research is centred on an activity we call space shaping: setting up an environment to create tools for exploration. We consider critical points in the design process which affect how space shaping takes place [ABSTRACT FROM AUTHOR]

This article examines two renditions of an artwork titled 100, which celebrate a historic radio transmission in 1916 during the Irish war for independence. The centenary artwork delves into the concept of radio transmission as an artistic expression rather than solely a practical function. The work explores the intersection of radio transmission with installation art, as well as its connections to sound art and sound design. Engaging with diverse theoretical frameworks, the article interrogates the boundaries of radio and its relationship with other media expressions. It also seeks to understand important historical works and events within radio, with a focus on exploring the roots of radio and its history in Ireland. [ABSTRACT FROM AUTHOR]

This article reviews the history, methods, engagements, and longstanding debates of the sonic medium of field recording. It considers not just standalone field recordings but diverse music and sound art genres where environmental sounds feature. Although they diverge in their approaches, field recordists (and those who apply these recordings in creative practice) are united in the belief that field recordings grant access to and precipitate emotionally heightened spaces. These positively-valenced emotions can potentially ameliorate the emotional toll of living through a time of socio-ecological crisis. In addition, some recordists claim that their field recordings provoke environmental reflection or inspire new environmental commitments – or both. Three exemplars – soundscapes featuring whales, birds, and a menagerie of creatures – guide a discussion on measuring field recordings' efficacy and impact. I argue that the robust link between nature connectedness (including soundscapes) and pro-environmental behaviour demonstrated in recent studies should be drawn upon more widely to bolster projects in fields like sound art, soundscape studies, and acoustic ecology. In linking art and activism, these trans-disciplinary collaborations reveal the emotional power of field recordings, the challenge of identifying qualitative results, and the promise of art-science alliances in stimulating urgent public conversations vis-à-vis environmental awareness and action. [ABSTRACT FROM AUTHOR]

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Hearing the remote past seems impossible. Archaeoacoustics is a contemporary field intent on reconstructing the evolution of early communication systems, offering the possibility of developing methodologies relating to past sound signaling and music. Through a contribution of the emerging sensory field of archaeoacoustics and an example of acoustic assessments conducted at the site of Coves del Toll, can we understand signals of the past in order to investigate human behaviour and trace its cognitive evolution? This paper explores alternative methodological and theoretical approaches to understanding prehistoric sonic behaviours in early hominids and aims to set out a framework to theoretically and philosophically approach the "sound record" of the past. The theoretical proposition of this paper integrates the musical and sound art disciplines of spectralism and sound ecology to challenge the current limitations of listening to sound. [ABSTRACT FROM AUTHOR]

This article is about a practice-based research on curating exhibits of sounds and exhibits for and about listening in the Philippines. The term "sounds" is used in this essay to refer to sound art works and music. As one of the few active curators who have been exhibiting sound/music in Manila in the past decade, I reflected on exhibits I have curated over the years as well as exhibits curated or staged by my contemporaries. This essay is a contemplation on and examination of lessons from such exhibits that may be useful in developing curatorial practice for sound exhibition in the Philippines. Special attention is given to exhibiting sounds as a counterpoint to the more conventional acts of performing sounds or exhibiting objects to look at. The act of exhibiting sounds, though it may appear random, actually expands the curatorial practice. This paper proposes that in exhibiting sounds, the task and responsibility of curators are not limited to selecting or putting up objects but cover a trifecta of affective actors. Sounds, spaces, and bodies perform together in sound exhibits, where each component contributes to a wholeness that the exhibit tries to achieve. Specifically, this paper focuses on exhibited sounds as omni-participant, observable boundaries of spaces, and frames audiences of such as listening bodies. Understanding the nature of sound as an exhibitable object (i.e., a physical object, idea, or sensation) vis-à-vis the act of exhibiting and of exhibition, as well as the place of sound among the audience, forms a complex armature that shapes the particular challenges and opportunities of exhibiting non-visual (art) objects. [ABSTRACT FROM AUTHOR]

Copyright of Revista Música Hodie is the property of Revista Musica Hodie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte y Políticas de Identidad is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article discusses the field of sound studies and its recent shift towards focusing on the global South, including Africa. It highlights the long-standing research conducted by Africanist scholars in various disciplines, such as music history, ethnomusicology, and African media studies. The special issue presented in the article aims to develop a sound studies paradigm that is rooted in and engages with African research. The articles in the collection explore the role of sound in African spaces, the representation and manipulation of sound in media, and the tensions and governance surrounding sound in urbanizing areas. The authors emphasize the need for new research methods that consider sound's cultural and technological dimensions and challenge dominant approaches to sound as a passive experience. [Extracted from the article]

Creative and feminist geographers position listening as a way to build more responsive, ethical, and reciprocal relations to people and environments. In this paper I argue that for geographers to situate listening – in the broadest definition as 'sensing, attuning, and noticing' – as part of a creative approach to reparative practice, we must first understand how Anglo‐European modes of listening and interpreting the world through sound are shaped by 'sonic colonialities'. These are encultured ways of apprehending and narrating environments that are derived from the Eurocentric fetish for pre‐colonial natures, imagined as discrete, unmediated, and possessable. Given the now prolific interest of geographers in sonic practices, this paper argues for a closer and more critical attention to how listening and sound methods are inherently determined by sonic colonialities. Using the example of field recordings, I show how such practices create and perpetuate divisive ideas of nature and place within contemporary ecological sound art. For geographers to situate listening – in the broadest definition as 'sensing, attuning and noticing' – as part of a creative approach toward reparative practice, we must first understand how Anglo‐European modes of listening and interpreting the world through sound are shaped by 'sonic colonialities'. These are encultured ways of apprehending and narrating environments that are derived from the Eurocentric fetish for pre‐colonial natures, imagined as discrete, unmediated, and possessable. Using the example of field recordings, I show how such practices create and perpetuate divisive ideas of nature and place within contemporary ecological sound art. [ABSTRACT FROM AUTHOR]

Copyright of Canadian Acoustics is the property of Canadian Acoustical Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Luigi Russolo's Intonarumori together with his manifesto L'arte dei rumori (1913) marked a break with the art of clear signification. From here on, noise and dispersed sounds replaced the concept of music reverberating the harmony of the spheres by propelling the quandaries of immanence contingent on palpable resonance performing the differential relational manner of heterogeneous existence. This somatic turn is central to Jean-Luc Nancy's Listening, where he proposes listening as a tangible fundamental resonance rumbling the corpse sonore. This paper elaborates on the move from the art of music to the plurality of rhythmic worlds. Nancy's proposition of sonorous existence demonstrates two movements, one that retreats from hearing the Pythagorean musical-arithmetical cosmos exhibited in Robert Fludd's Monochord, the other plays the singular plural pulsations of dispersed creation performed by Michael Snow's Tap. [ABSTRACT FROM AUTHOR]

Much insect sounding is beyond the limits of typical human hearing ability. This sonic separation is exacerbated by a socialized narrative of fear and avoidance of insects in many western societies. With the use of audio technologies to expand our senses, we can embrace opportunities to get to know sensory and communicative insect sound-worlds beyond our own. Ecological sound art – sound art that has an environmentalist intent – is a tangible and accessible means of listening to these sounds. In the series Built Hidden Soundscapes, the primary author (Schonberg) composes imagined soundscapes existing solely of sounds that are beyond the limits of typical human hearing ability. In this article we introduce two compositions in this series, Reserva Florestal Adolpho Ducke and Pipeline Road. These compositions offer a temporary expansion of our aural senses that can increase listeners' awareness of cryptic insect existences/ecologies. We suggest that this listening practice might prompt future auralization (sounding or hearing in the mind) of insect sound for the listener. [ABSTRACT FROM AUTHOR]

This article addresses ongoing discussions regarding the material and cultural legacies of the German Democratic Republic (GDR). It draws on texts produced by two individuals that were members of the Chilean artistic community that lived in exile in the GDR during the Chilean military dictatorship (1973–90). I argue that descriptions of musical activity and sonic memories within these texts offer a powerful counterpoint to some of the more prevailing assumptions that tend to position East German cultural history either as relic of material nostalgia or simply subsumed under capitalism after the period of German reunification. By positioning the ephemeral and unruly sonic traces of the Chilean exile community against mainstream narratives of GDR history, this article offers the possibility of examining and animating spaces subject to invisibility and disappearance in contemporary German memory. [ABSTRACT FROM AUTHOR]