A E World Map

Founded by Garth Paine and Sabine Feisst in 2015, the Acoustic Ecology Lab at Arizona State University (AELab@ASU) is a forum for interdisciplinary collaboration to examine sonic environments through intersections between the arts, sciences, humanities and new technologies.

Adam researches into media and music, and is active as an experimental composer, performer and sound designer.

He founded and performs with the Sydney City Humanoid Electronic Modular Ensemble. He directs the Sound Lab Ensemble at UNSW. He has a range of public works and commissions, including a three year residency with radio 2SER to remix free-to-air television live, a month-long installation in Martin Place using archival audio and motion sensors, video art for Deborah Kelly and live performance in the Sydney Opera House of a commissioned radio dramatisation of an unpublished work by author John Birmingham.

His studio works include publication as part of the online Cities and Memories project which worked with field recordings of protests from Nauru Regional Processing Centre and an early field recording from Mississippi State Penitentiary (No More my Lawd), sound design for feminist artist Deborah Kelly’s video work Lying Women, an experimental audio documentary on author Philip K. Dick and classical music (The Owl in Daylight) that was commissioned by Radio National, and a modular synthesis album Phonoccultural Studies that explores the concepts forwarded by the global Occulture research group. He was recently commissioned by ABC music to produce long form audio for the ABC Kids Sleep Through program.

A founder of the Machine Music Research Collective, he has a range of publications around hyperstition and phonnoculture, soundscapes in literature and communication theory.

Bioacoustic research from Africa and by African scientists

Aggelos Tsaligopoulos holds a master’s degree in environmental policy and management and he is currently a post-doctoral researcher in the Acoustic Ecology Laboratory located in the Department of Environment, University of the Aegean (Lesvos, Greece). He has an extensive experience in sound recordings concerning the anthropogenic and biological elements of an acoustic environment. The knowledge gained through his research in environmental sciences has provided him with the necessary tools regarding the understatement of the biological processes that define both landscapes and soundscapes. His interest in urban ecology and urban quiet areas has proven to be a valuable tool regarding the assessment of noise levels in different types of acoustic environments (both Urban and Rural). Being a researcher in the Acoustic Ecology Laboratory and a member of the Hellenic Society of Acoustic Ecology, has given him the opportunity to co-organize the 4th Acoustic Ecology Conference “Sound – Noise – Environment” which took place in Mytilene (Lesvos, Greece) in 2016. His in depth knowledge regarding the state of the art sound recording techniques and his experience on the appropriate software and tools, has proven to be an important factor on several projects that were successfully completed.

Alan Cook is a Doctor of Philosophy candidate at the Elder Conservatorium of Music whose research pursues a contextual approach to anthropophonic sound. He follows sounds as they circulate through various networks, processes, and infrastructures, and then transforms those encounters using formalised algorithmic techniques.
Through his research Alan seeks to unify narrative, field recordings, site specific data, mathematics, and sculpture. He explores how electro-mechanical sounds interact by developing compositional strategies that create abstractions of anthropophonic sound.

Alan Nakagawa is an interdisciplinary artist with archiving tendencies, primarily working with sound, often incorporating various media and working with communities and their histories. He has created a series of Invisible Architecture experiences that are mash ups of the recorded acoustics of historical sites, giving new context to historic places through a contemporary lens of sound. Nakagawa is currently the Artist-in-residence for two institutions. 1) Kaya Press at the University of Southern California, a small literary publication focusing on Asian and Pacific Islander American and Diasporic literature celebrating its 30th Anniversary and 2) the Gerth Archives, California State University Dominguez Hills assigned to the National Coalition for Redress and Reparations collections, which consists of materials pertaining to the campaign that led to the Civil Liberties Act of 1988. His first book, “A.I.R.Head: Anatomy of an Artist in Residence” was published in January 2023 by Writ-Large Press. It maps his artistic trajectory that led to his nine Artist-in-residencies in six years.

Alice Eldridge’s background in music, psychology (BSc), evolutionary and adaptive systems (MSc) and informatics (PhD) underpins creative and empirical interdisciplinary research in sonic (complex) systems at the interstices of music, technology and ecology. This includes improvisation, composition, field recording, instrument building and computational analysis of natural acoustic environments within the emerging field of ecoacoustics, braided with ideas and methods from adaptive and complex systems.

She has appeared on BBC TV Spring Watch and BBC radio 4 Costing the Earth as a soundscape ecologist; on BBC radio 3 Late Junction and Jazz on 3 as a free jazz cellist; on BBC radio 6 Lauren Laverne's show as a contemporary chamber composer; and on BBC radio 1 John Peel show as a pop bassist.

“Rigor alone is paralytic death, but imagination alone is insanity.” ― Gregory Bateson, Mind and Nature

My recent principal interests are in understanding how complexity operates across a range of ecological scales affecting the organization of communities, ecosystems, and landscapes. In particular, I am interested in studying the organization of landscapes and how organisms perceive the surrounding complexity. Specific attention is directed to the study of the mechanisms involved in the communication between the internal world of organisms and their interpreted umwelt.
Recently, I have incorporated the principles of biosemiotics into the ecological domain developing the eco-field hypothesis. In addition, I have elaborated a new theory on resources (general theory of resources) where resources have been defined and some axioms have been presented and discussed as a basis for a new ecological perspective to investigate the complexity of life. In addition, I have investigated the soundscape of animals as an energetic, informative dimension utilized by these species to maintain contact with vital resources. I am working on the development of new theories in ecoacoustics and new metrics (Acoustic Complexity Index; ACI) to evaluate the complexity of sounds inside populations, communities, and landscapes. Moreover, in collaboration with Lunilettronik, I have realized new field recorders with onboard metrics (ACI) to extract acoustic information in real time.

Publications include more than 250 reports, articles, and books on zoology, eco-ethology, bird community ecology, landscape ecology, landscape changes, rural landscape modifications, soundscape ecology, eco-informatics, ecoacoustics, and soundscape ecology.

AM Kanngieser is an award-winning geographer and sound artist, working through listening and attunement to approach the relations between people, place and ecologies. Over the past decade they have focused on experimenting with sonic methods and practices (including field recordings, radio building and training, sonic ethnographies, oral testimonies, songs, sonifications, composition, sound walks) for environmental-geographical research. These methods and their application have been developed through sound events with The Natural History Museum London, Live Art Development Agency, Sound and Music and 2 Degrees Festival/Arts Admin and been variously outlined in papers for interdisciplinary journals including South Atlantic Quarterly, WIRES Climate Change, Progress in Human Geography and Environment and Planning D amongst many others.

Since 2015, AM has been collaborating with Pacific women, queer and transgender artists, organisers and scholars through Climates of Listening, an ongoing project that amplifies movements for self-determination in relation to continuing colonisation through resource extraction, environmental racism and ecological disaster. This research emphasises the nuanced and variegated ways that communities and people understand, produce knowledge about, and collectively attend to their lived experiences of ecocide. This has included running podcast production workshops with groups in Fiji and the Marshall Islands for which an Introduction to Podcasting manual was complied with the Fijian audio producers Mere Nailatikau and Krystelle Lavaki-Danford from The Two Fishes show.

Alongside academic publications AM has concentrated on producing collaborative audio compositions and prose works for radio and installation to disseminate material more accessibly to national and international audiences. This has required them to place importance on making their work more broadly resonant, including for festivals such as Sonic Acts, Unsound, Transmediale, With For About 2020 and Liquid Architecture. This work has been featured on, and commissioned by, Documenta 14 Radio, BBC 3, ABC Radio National, Arts Centre Melbourne, Radio del Museo Reina Sofía, Savvy Gallery Berlin, Warsaw Museum of Contemporary Art, Deutschland Radio, and QAGOMA, and will be unfolded through a forthcoming monograph Between Sounds and Silence: Listening for Environmental Relations. Interviews on this work can be found in Wire Magazine: Adventures in Sound and Music, Mediapart and Radio Web MACBA.

AM is a Marie Curie International Research Fellow in Geography at Royal Holloway University of London. Prior to their current role, they were a Senior Research Fellow with Seedbox Environmental Humanities Laboratory, University of Sydney, and held a Vice Chancellors Research Fellowship in the School of Geography and Sustainable Communities, University of Wollongong. They have also held a continuing lectureship at Goldsmiths College (Sociology) and a Postdoctoral Fellowship at Royal Holloway (Geography), University of London. AM has received funding from the European Commission, the Economic and Social Research Council UK, the British Academy/ Leverhulme Trust, the Australian Research Council and the Australia Council for the Arts.

I am a trans-disciplinary artist-academic working in multiple ways in multiple areas of knowledge: visual artist, writer-poet, radio-feature documentarian, soundscape artist, acoustic ecologist, and a practitioner and educator in arts-based research.

Theoretically, I’m working with concepts such as experiential knowing through sound such as in Heidegger’s last lecture, a call for an end to philosophy and return to experience as an “Appropriation” of time by being and being by time — particularly useful to an acoustic way of being and knowing..

That means that I experience and analyze my lifeworlds (which are many and complex) vertically and horizontally. I travel deeply through my terrain.

Andrew is an educator, author, naturalist, environmental thinker, and one of Australia's best-known nature sound recordists.

Over the last thirty years, he has documenting the sounds of wild environments around the planet, and through his label Listening Earth, published over one hundred recordings featuring habitats from most continents. These albums consistently attract Spotify streaming figures in the many tens of thousands a week.

His recordings are featured in the audio installation at Sydney Wildlife World, plus the currently touring Australian Geographic / Northern Pictures immersive installation 'Our Country'. They have also contributed to feature films, including Peter Gabriel's soundtrack to Phillip Noyce's 'Rabbit Proof Fence', Disney's 2016 remake of 'The Jungle Book', and the upcoming 'Force of Nature' with Eric Bana.

Andrew is an experienced public speaker, having given presentations ranging from local community and school groups to university students. He has delivered radio features, keynote addresses and a TEDx talk, weaving spectacular recordings with visual analysis to engage a wide diversity of audiences.

Andrew is president of the Australian Wildlife Sound Recording Group, a premier association of nature field recordists that encourages skills and passion in a new generation of enthusiasts.

After a career as a Studio Manager (Sound Engineer) in the BBC World Service and another as a Further Education Lecturer in Essex, I undertook a Masters by Research at LSBU; I'm now pursuing a PhD in Historical Soundscapes at the University of Greenwich. My work is centred on Copped Hall, a 1750s mansion destroyed in a huge fire in 1917 and which is under restoration.

My work explores environments and atmospheres as embodiments of stress and relief, with listening becoming writing, recordings, photographs and films (and very rarely performances). I often work alone but find sharing creativity more enjoyable: I have collaborated with Kozo Hiramatsu and Rupert Cox on projects related to civilian and military overflights since 2011; with Cathy Lane as part of the Creative Research into Sound Arts Practice (CRiSAP) research centre since 2005; with Mark Peter Wright as Decoys since 2015; with Simon James along the Shoreham coastline since 2021; and with Katrin Losleben, Za Barron, Paula Ryggvik Mikalsen and Britta Sweers on Arctic Auditories (2022 – 2025).

Anna Friz is a radio, sound, and media artist, working across platforms to present installations, broadcasts, documentary and experimental film and video, and live performances. Her creative and scholarly works often reflect upon media ecologies, land use and adaptation, infrastructures, time perception, radio and transmission art histories, and critical fictions. She specializes in self-reflexive radio for broadcast, installation or performance, where radio is the source, subject, and medium of the work. She has presented work internationally since 1998; recent venues include The Smithsonian Museum of Natural History, The Lab (San Francisco), Sonandes Bienal Internacional de Arte Sonoro (La Paz, Bolivia), Tsonami Festival de Arte Sonoro (Valparaíso and Santiago, Chile), Bienal Sur (Argentina), Heroines of Sound Festival, Berlin Germany), esc Medien Kunst Labor (Graz, Austria), Donaueschinger Musiktage 2024 (Donaueschingen, Germany), Radio Art Zone (Esch-Zur-Alzette, Luxembourg), Ars Electronica Festival (Linz, Austria), RE:SOUND Festival (Aalborg, Denmark) and more. Her radio artworks have been commissioned by national public radio in Canada, Australia, Austria, Finland, Germany, Denmark, and Spain, and heard on public and independent airwaves all over the world. Anna is a 2023 Guggenheim Fellow, and won the Karl Sczuka Prize in 2024. She is currently Associate Professor of Film and Digital Media at University of California, Santa Cruz.

Aotearoa New Zealand-born American composer Annea Lockwood (b. 1939) brings vibrant energy, ceaseless curiosity, and a profound sense of openness to her music. Lockwood’s lifelong fascination with the visceral effects of sound in our environments and through our bodies—the way sounds unfold and their myriad “life spans”—serves as the focal point for works ranging from concert music to performance art to multimedia installations.

In recent years Lockwood and her music have received widespread attention, including a Columbia University Miller Theatre Composer Portrait concert, a feature article in The New York Times, a SEAMUS Lifetime Achievement Award, a documentary film by director Sam Green, election to the American Academy of Arts and Letters, a 2024 Fromm Foundation Commission, and most recently a 2025 New Music USA Creator Fund Award. Her recent collaborative works Into the Vanishing Point with the ensemble Yarn/Wire and Becoming Air with avant-garde trumpeter Nate Wooley were released on Black Truffle Records to great acclaim. Her work has been presented internationally at institutions and festivals such as Lucerne Festival, Tectonics Athens Festival, Signale Graz, Counterflows International Festival of Music and Art, Huddersfield Contemporary Music Festival, and many others.

Born in Aotearoa New Zealand in 1939, Annea Lockwood moved to England in 1961, studying composition at the Royal College of Music, London, attending summer courses at Darmstadt, and completing her studies in Cologne and Holland, taking courses in electronic music with Gottfried Michael Koenig. She felt a strong connection to such American composers as Pauline Oliveros, John Cage, and the Sonic Arts Union (Ashley, Behrman, Mumma, Lucier). In 1973 composer Ruth Anderson invited her to teach at Hunter College, CUNY, and Lockwood moved to the US, settling in Crompond, NY. She is an Emerita Professor at Vassar College.

During the 1960s, Lockwood created works such as the Glass Concerts, initiating her focus on timbre and new sound sources. In synchronous homage to Christian Barnard’s pioneering heart transplants, Lockwood began a series of Piano Transplants (1969-82) in which defunct pianos were burned, drowned, beached, and planted in an English garden. Piano Burning continues to be performed around the globe.

Lockwood’s deep affection for all things water-related is evident throughout her catalog. Her attention to performance works focused on environmental sounds and life narratives began in the 1970s and ’80s with World Rhythms and A Sound Map of the Hudson River. A Sound Map of the Danube weaves field recordings of the rivers with recorded stories of the people living and working on the water. Delta Run features a recorded conversation with the sculptor Walter Wincha near the time of his death. Her 2016 tribute to the composer Pauline Oliveros, bayou-borne, for Pauline, is a graphic score; a map of the six converging bayous in Houston, Texas, where Oliveros was born.

Collaboration and improvisation are vital features of Lockwood’s output. Jitterbug, commissioned by the Merce Cunningham Dance Company for the dance eyeSpace, incorporates Lockwood’s recordings of aquatic insects, and three improvising musicians working from photographs of rock surfaces. She has worked with engineer and sound designer Robert Bielecki on devices such as the Sound Ball, created for Three Short Stories and an Apotheosis in which a ball containing six small speakers and a receiver is rolled, swung on a long cord, and passed around the audience. Lockwood and Bielecki also collaborated on the outdoor installation Wild Energy (2014), which resides in the permanent collection of the Caramoor Center for Music and the Arts and draws on geophysical and atmospheric infra and ultra sound sources transposed into the human hearing range.

Annie Mahtani (UK, 1981) is an electroacoustic composer, sound artist and performer working and living in Birmingham (UK). She studied with Jonty Harrison at master’s and doctoral level at the University of Birmingham, completing her PhD in 2008.

Her output encompasses electronic music composition from acousmatic music to free improvisation. As a collaborator, Annie Mahtani has worked extensively with dance and theatre, and on site-specific installations. With a strong interest in field recording, her work often explores the inherent sonic nature and identity of environmental sound, amplifying sonic characteristics that are not normally audible to the naked ear. Her music explores abstract and recognizable sound worlds and all the spaces in between. Annie works extensively with multichannel audio both in fixed medium works and in live performance.

Her music has been recognized and performed extensively in concerts and festivals internationally and she was the recipient of a mention at the 35th Bourges international Electroacoustic Music and Sound Art Competition (France, 2008). She has received a number of notable commissions including those from Birmingham Contemporary Music Group, Jazzlines, Birmingham Repertory Theatre, Birmingham Hippodrome, and Rosie Kay Dance Company (for which she is the Company composer).

Annie Mahtani is Associate Professor in Music at the University of Birmingham and co-director of BEAST (Birmingham Electroacoustic Sound Theatre). She was a founding member and co-director of SOUNDkitchen, a Birmingham-based collective of curators, producers and performers of live electronic music and sound art. Annie has been a member of a number of boards and panels and is currently a committee member for the British ElectroAcoustic Network (BEAN), and Chair of the British Section of the International Society for Contemporary Music (ISCM).

Anthony Magen is a Landscape Architect and Acoustic Ecologist navigating the ecotones of culture. This navigation is facilitated through the construction of the built environment in a professional capacity, through pedagogy, soundwalking as an active artistic practice and an ongoing commitment to the World and Australian Forums for Acoustic Ecology.

Anthony Magen’s practice includes the presentation of neorealist abstractions in ‘live’ situations, small-scale interventions, audiovisual installations and photographic presentations facilitated throughout Australia

Anthony Truskinger completed his PhD in May 2015. His thesis, titled Semi-Automated Annotation of Environmental Acoustic Recordings, is focused on assisting the citizen scientists that contribute useful information in online bioacoustic analysis environments.
Anthony is currently a software architect (research software engineer) that has worked for the QUT Ecoacoustics Research Group since 2009.

The Australian Acoustic Observatory is a continental-scale acoustic sensor network, recording for a five-year period across multiple Australian ecosystems. The data are freely available to researchers, citizen scientists, and the general public. The A2O was funded by the Australian Research Council, grant LE170100033.

90 sites, 7 ecoregions & over 40 participants

The Australian Forum for Acoustic Ecology (AFAE) was formed in 1998 by people interested in the awareness, experience, and study of sound and soundscapes. We are an affiliate of the World Forum for Acoustic Ecology (WFAE), the umbrella organisation linking like minded groups from around the world.

The AFAE is a not-for-profit, which is home to a collection of people across Australia who listen and who have a professional or personal interest in fields such as: acoustics, audiology, architecture, bioacoustics, conservation biology, digital design, education, ecoacoustics, ecosystem health, landscape, phenomenology, sound studies, sound art, sound culture and sound design.

The organisation brings together people who aim to promote a culture of listening to raise awareness of issues around listening, sound and sonic environment; and to encourage discussion, debate, education, practical activities and research. We collaborate with conferences, events, organisations and institutions and believe acoustic ecology is a highly valuable interdisciplinary field to explore the social, cultural and ecological aspects of our environment through sound.

Barry Truax is a Professor Emeritus in the School of Communication and (formerly) the School for the Contemporary Arts at Simon Fraser University where he taught courses in acoustic communication and electroacoustic composition, specializing in soundscape composition.
He has worked with the World Soundscape Project, editing its Handbook for Acoustic Ecology, and has published a book Acoustic Communication dealing with all aspects of sound and technology.

As a composer, Truax is best known for his work with the PODX computer music system which he has used for tape solo works and those which combine tape with live performers or computer graphics.

A selection of these pieces may be heard on the recording Sequence of Earlier Heaven, and the Compact Discs Digital Soundscapes, Pacific Rim, Song of Songs, Inside, Islands, and Twin Souls, all on the Cambridge Street Records label, as well as the double CD of the opera Powers of Two and the most recent CDs, Spirit Journies and The Elements and Beyond.

In 1991 his work, Riverrun, was awarded the Magisterium at the International Competition of Electroacoustic Music in Bourges, France, a category open only to electroacoustic composers of 20 or more years experience. He is also the recipient of one of the 1999 Awards for Teaching Excellence at Simon Fraser University.

Following his retirement from SFU (Sept. 2015), he became the Edgard Varèse Guest Professor at the Technical University in Berlin (2015-16), and Guest Composer at the 2016 BEAST Festival in Birmingham, where his multi-channel soundscape compositions have been performed, as well as at several other European festivals and ISCM 2017 in Vancouver, plus the 2018 ICMC in Korea where he was a keynote speaker.

Truax is a Founding Member of the International Confederation of Electroacoustic Music, Bourges, France, the World Forum for Acoustic Ecology, and the Canadian Electroacoustic Community (CEC) which has also appointed him an Honorary Member, and in 2024 its Patron. He is a Corresponding Editor for Organised Sound, Cambridge University Press, and in 1985 he was the conference organizer of the International Computer Music Conference held in Vancouver.

Since 1968, Bernie Krause has traveled the world recording and archiving the sounds of creatures and environments large and small. Working at the research sites of Jane Goodall (Tanzania), Biruté Galdikas (Borneo), and Dian Fossey (Rwanda), he identified the concepts of the Acoustic Niche Hypothesis (ANH), and biophony the collective and organized acoustic output as each species establishes unique frequency and/or temporal bandwidth within a given habitat. Krause is also a founder of the new ecological discipline, soundscape ecology. In the world of fine art, Krause has produced over 50 natural soundscape CDs and designed interactive, non-repetitive environmental sound sculptures for museums and other public spaces worldwide.

With his late music partner, Paul Beaver, he helped introduce the Moog synthesizer to pop music and film on the West Coast in the mid-1960s. Aside from their own charted recordings, the team’s work can be heard on over 250 albums, including those of Mick Jagger, Van Morrison, Peter Gabriel, Brian Eno and David Byrne, George Harrison, the Doors.

Krause, who holds a PhD in Creative Arts, was a key figure in implementing natural soundscapes as a resource for the U. S. National Park Service. In 2012 he published The Great Animal Orchestra: Finding the Origins of Music in the World’s Wild Places (Little Brown/Hachette). In 2014, the Cheltenham Music Festival premiered a symphony by Krause and Richard Blackford based on the book. It is the first live performance piece to incorporate natural soundscapes as a component of the orchestration. In 2015, Biophony, a music score composed entirely of natural sounds, was commissioned, choreographed and premiered by the Alonzo King’s LINES Ballet in San Francisco. In September, 2021, his book, The Power of Tranquility in a Very Noisy World, will be published by LittleBrown/Hachette. His art and science exhibition, Le Grand Orchestre des Animaux, commissioned by Fondation Cartier pour l’Art Contemporain in Paris, opened 1 July 2016. The piece has since been exhibited at the Seoul Museum of Art in S. Korea, Shanghai, China, and opened MoMA’s (NY) Triennale in Milan, in 2019.

As research scientists we are highly curious about the world around us – how it functions, how things are interconnected and what happens when such connections are damaged or broken. Marine mammals live lives that are largely unseen, as many spend the majority of their time under the surface of the ocean. Many aspects of marine mammal physiology, their social interactions and behaviour and their ability to adapt to changing climatic conditions are still poorly understood. Getting answers to many fundamental biological and ecological questions is critical and will have widespread impacts, with and beyond the field of marine mammal science.

The Bogong Centre for Sound Culture is an independent remote-regional cultural initiative situated in the foothills of Victoria’s Alpine National Park. Established by Philip Samartzis and Madelynne Cornish in 2010, the B–CSC supports projects focusing on the alpine environment; sustainable energy; climate change; remote communities; recreation; fieldwork; and new systems and processes of art making.

Additionally, the B–CSC facilitates a broad cultural program comprising, festivals, exhibitions, publications, master classes and artists’ talks focusing on site-specific art practices. These programs establish a connection with place, its inhabitants, geographic space and memory. They engage a wide range of audiences, bringing together local, interstate and international artists across multiple disciplines and fields to realise ambitious works.

The B–CSC is situated at the newly restored old school at Bogong Alpine Village located 350 kilometres from Melbourne in North East Victoria.

Brandon LaBelle is an artist, writer and theorist working with sound culture, voice, listening and questions of agency. Guided by situated and collaborative methodologies, he develops artistic projects and performances within a range of international contexts, mostly working in public and with others. From gestures of intimacy and listening to critical festivity and experimental pedagogy, his practice aligns itself with a politics and poetics of radical hospitality. This leads to performative installations, poetic theater, storytelling, and research actions aimed at forms of experimental community making, as well as extra-institutional initiatives, including The Listening Biennial and Academy which he currently directs. He is also currently working as a research fellow at the National Hellenic Research Foundation for the ERC project MUTE (Soundscapes of Trauma: Music, Sound, and the Ethics of Witnessing), developing work on Third Listening and Biopoetics.

I am on a mission to record the Earth. My work takes me all over and to far and exotic places. I do work in extremely remote areas of the world where no humans live. My goal is to conduct a soundscape research study in every major biome of the world. I have done 27 and have 4 more to go. The motivation for my work comes from Alexander von Humboldt and Rachel Carson, great scholars and naturalists, who inspired society to be in awe of nature.

Bárbara Fragoso is a singer, journalist, and researcher. She is a PhD candidate in Innovation in Communication and Creative Economy at the Catholic University of Brasília (UCB), where she also completed her Master’s degree (2024) and her undergraduate degree in Journalism (2012). She studied popular and classical singing at the Brasília School of Music (EMB) between 2015 and 2018, under the guidance of professors Alysson Takaki and Vilma Bittencourt. She is currently pursuing a technical degree in Phonographic Processes at the same institution. She is a researcher in the project “Lab Metaverse: The Future is Ancestral” at UCB, coordinated by Professor Florence Dravet.

During her Master’s program, she investigated the affections that emerge from the soundscape of the Brasília School of Music, located in Brazil’s capital. Based on the composition of a soundscape at the institution in 2022, sound experiences were carried out with both internal and external audiences, who were blindfolded, followed by discussion circles. The aim was to establish how the phenomenon of soundscape composition at EMB operates as symbolic production, shaped by the relationship between sounds and the listeners’ perception of the environment, as well as its connection with creative processes. Theoretical investigations of the soundscape concept by Murray Schafer supported its understanding as a field of acoustic study (2011; 2019), in line with John Cage’s explorations of what constitutes music and musical composition (2013; 2015; 2019; 2021). Likewise, Gilles Deleuze and Félix Guattari (1992) provided the theoretical foundation for the notion of affect.

For the research, a cartographic investigative approach proposed by Deleuze and Guattari was adopted, as an attitude that prepares one for the “welcoming of the unexpected.” The study addressed cross-cutting themes such as spatiality, sensations, corridors, musical perception, creative processes, and memories that emerged during the discussion circles. The research posits that individuals are traversed by affects, collectively constructed, without the possibility of being identified individually, and that the science of affects is not exact.

The process of understanding the setting incorporates the Brasília School of Music as a work of art, crafted by many hands, with those who pass through it acting as composers of its soundscape. In this context, the corridor was identified as a physical and/or imaginary space, integrative and resonant within the institution. The soundscapes recorded in this research can be accessed at: https://soundcloud.com/barbarafragoso/sets/soundscape-escola-de-musica-de

Formed in 1996 as the Canadian Affiliate Organization of the World Forum for Acoustic Ecology (WFAE), the Canadian Association for Sound Ecology – CASE (l’Association canadienne pour l’écologie sonore – ACES) is a coalition of Canadian individuals and institutions concerned with the state of the soundscape.

As acoustic ecology is the study of the relationship between living organisms and their sonic environment (or soundscape), it is the CASE mission to draw attention to unhealthy imbalances in this relationship, to improve the acoustic quality of a place wherever possible, and to protect and maintain acoustically balanced soundscapes where they still exist.

As a multidisciplinary organization CASE includes those who are committed to caring for the quality of the acoustic environment through their respective fields. If they are creators of sound, for example, they are sensitive to the relationship between their sound production and the acoustic environment. (CASE recognizes and supports the principle of sexual equality, and of English as its principal language of communication and of French as an official language).

Carmen Braden is a versatile, genre-jumping musician from the Canadian sub-Arctic. Winner of the 2019 and 2020 Western Canadian Music Award for Classical Composer of the Year, Carmen is a composer/performer based in her hometown of Yellowknife, Northwest Territories. Hailed as “a talented, bold musician” (Up Here Magazine), Carmen is a life-long Northerner whose music has been described as “drop-dead gorgeous” (Ottawa Citizen). Carmen’s second studio album Songs of the Invisible Summer Stars (2019) was nominated for an East Coast Music Award for Classical Album of the Year. Her debut studio album Ravens was released in 2017 - both albums are on the Centrediscs label.

Carol Ann Weaver is a celebrated Canadian composer whose music has been heard throughout North America and in parts of Europe, Africa, Korea and Paraguay. Her genre-bending music ranges in style from classical to jazz, avant garde to folk, creating new fusions of roots and art music, much of it colored by her long standing passion for African music. Exploring various edges, she has composed for turntablist, worked with soundscapes, drum circles, acoustic and electric instruments, and created dramatic and theme-oriented productions and festivals. Her Sound in the Land Festival/Conferences at University of Waterloo have brought together composers, performers, scholars, ecologists, ecomuicologist, ethnomusicologists and listeners from all over North America, Europe, South Korea and Africa.

Carol Ann Weaver is a celebrated Canadian composer whose music has been heard throughout North America and in parts of Europe, Africa, South Korea and Paraguay. Her genre-bending music ranges in style from classical to jazz, avant garde to folk, creating new fusions of roots and art music, much of it colored by her long standing passion for African music. She has composed vocal, choral, chamber, solo, orchestral multimedia music, worked with electric instruments, dancers, turntablist, gamelan, drum circles, incorporated visuals, electroacoustic and soundscape textures. Her music has been described as “adventurous and imaginative, with joyous fusions of folk, jazz, roots, art and world music — daring, calming, grounded and passionately connected with the world round about, powerful, moving, innovative and expressive.” She has been commissioned by Arraymusic, Blue Rider Ensemble, Hemispheres Orchestra, Ardeleana Trio, Bass Impact (bass clarinet duo), Mary Petrich (saxophonist), Gallery Players, Cincinnati Arts Festival, University of Waterloo Orchestra, UW Trickster Festival, Goshen College, Music at Sharon, Fifth Stream Music Festival, Indi 85 Dance Festival (Toronto), Wider Boundary of Daring Conference (Windsor) and many more, with grants from Canada, Manitoba and Ontario Arts Councils, Laidlaw Foundation, and more. Her music has been heard on CBC radio and TV, SABC, Korean National TV, and other Canadian, American, and European radio.

My multidisciplinary practice addresses communication through voice, language and the interplay between hearing/listening, seeing/reading. Using field recording, digital imaging and the spoken/written word I explore an expanded approach to language within and across species through a framework of everyday experience. The artworks are social in nature and frequently involve collaboration and participation with other artists and with audiences. They take several forms including texts/scores, sound, installations, sound walks, performance, readings, external public artworks.

Brought up in London UK I studied at Wimbledon School of Art and East London University. I live between London and Naarm/Melbourne Australia, on the traditional lands of the Wurundjeri and Boon Wurrung peoples of the Eastern Kulin Nation. My work has been exhibited and performed regularly both within the UK, Australia and internationally since the 90s. I teach at Goldsmiths, University of London (BA Connected Curriculum), Swinburne University, Melbourne (MA Writing online/distance learning), and hold a practice led PhD (Fine Art) through RMIT University, Melbourne.

Mission Statement of the Center for Global Soundscapes:

Our Purpose: To achieve a sustainable future by providing novel ways for society and nature to thrive and live in harmony.

Our Vision: To inspire society to rediscover the natural world through our work on the sounds of nature.

Our Mission: Our mission is to use novel ways to provide natural resource managers with information for biodiversity conservation and to advance our understanding of how people connect to the natural world through the sounds of nature. Our overarching goal is to promote a harmonious co-existence of society and nature for a sustainable future through impactful discovery, learning, engagement, and innovation.

The Central-European Network for Sonic Ecologies (CENSE) is an informal network of individual voices coming from various backgrounds. We propose this emerging network to fill the need of fostering more perceptive and conscious thinking and solutions, addressing developments in the social and cultural fields of Central Europe (and beyond) related not only to sound art, ecomusicology, and sound per se, while keeping a central focus on deep environmental and social changes.

CENSE was established during the founding conference of the Central European Society for Sound Ecology (CESSE) held in Budapest, November-December, 2018, which was initiated and organized by Csaba Hajnóczy.

Charlotte Leamon is a Sydney-based composer and sound artist who composes radical sound worlds often centred around environmental topics and issues. Charlotte writes in various medias including chamber, electroacoustic, multimedia and theatre. A recipient of the Chandler Scholarship and University Merit Prize, Charlotte was awarded First Class Honours for a Bachelor of Music (Composition) from the Sydney Conservatorium where her pieces have been workshopped by the Australian String Quartet, Opera Australia Orchestra, and recorded by the Sydney Youth Orchestra.

In 2025, Charlotte’s works have been showcased in London as part of the International Sound Art Exhibition, in Melbourne at Sleepless Festival in Footscray, and in Berlin for the Artspring Lauschsalon. Charlotte was recently selected for the international call for works as part of the 5th edition of the Sound Ecology Research Music festival in Grenoble, France. She is a participant in the Illuminated NOW! Emerging Composer program, and will have a new commissioned piece premiered by the Australian Haydn Ensemble later this year. Charlotte is curating a concert in 2025 to display her works alongside Dr. Ivan Zavada and peers who travelled to Bangkok in 2023 as part of the Global Mobility scholarship.

Recent highlights include a world premiere by Corvus Ensemble in Fairbanks (Alaska) as part of the program 'Composing in the Wilderness'. Her series of works titled 'Refractional' were commissioned by RMIT and premiered at the Melbourne Recital centre, and her works have been displayed at the ‘Inner West Sounds’ festival, Australasian Computer Music Conference and the Whispers and Roars Festival. Charlotte has curated acousmatic and installation concerts featuring Daniel Blinkhorn and Alexis Weaver, and in late 2024 she curated a multi-channel, multimedia concert for her newly released album Clusters and Bubbles.

Charlotte’s sound design for theatre has been showcased nationally and internationally in Edinburgh, New York and New Zealand. She has received runner up in her sound design for the Sydney Broadway World Awards in 2022.

Cheryl Leonard is a San Francisco-based composer, performer, field recordist, and instrument builder whose works investigate sounds, structures, and objects from the natural world. Her projects cultivate stones, wood, water, ice, sand, shells, feathers, and bones as musical instruments, and often feature one-of-a-kind sculptural instruments and field recordings from remote locales. Leonard is fascinated by the subtle textures and intricacies of sounds, especially very quiet phenomena. She uses microphones to uncover and explore micro-aural worlds within her sound sources, and develops compositions that highlight the unique voices she discovers. Structurally and thematically, her creations often reflect on natural phenomena and processes. Her recent work focuses on environmental issues, especially climate change in the polar regions and California and the extinction of species.

Chris Watson (b. 21st November 1953) was a founding member of the influential Sheffield based experimental music group Cabaret Voltaire during the late 1970’s and early 1980’s. Since then he has developed a particular and passionate interest in recording the wildlife sounds of animals and habitats from around the world. As a freelance composer and sound recordist Watson specialises creating spatial sound installations which feature a strong sense and spirit of place.

His television work includes many programmes in the David Attenborough ‘Life’ series including ‘The Life of Birds’ which won a BAFTA Award for ‘Best Factual Sound’ in 1996, and as the location sound recordist for the BBC series ‘Frozen Planet’ which also won a BAFTA Award for ‘Best Factual Sound’ (2012).

Watson has recorded and featured in many BBC Radio 4 and World Service productions including ‘The Wire’ which won him the Broadcasting Press Guild’s Broadcaster of The Year Award (2012). His music is regularly featured on the BBC Radio 3 programme ‘Late Junction’. He has also worked extensively for RTE Radio 1 on series such as ‘Sound Stories’

In 2013 Watson received a Paul Hamlyn Composers Award.

His installations have been commissioned by international galleries and festivals such as Sheffield Millennium Gallery, Opera North in Leeds, The National Gallery, London, The Louvre, Paris, the Aichi Triennial in Japan and Unsound in Kraków.

Christopher DeLaurenti is a sound artist, improvisor, and phonographer based in Virginia. His sound work encompasses field recordings, electroacoustic and acousmatic music, text-sound scores, free-improvised low-tech electronics, and compositions for acoustic instruments. Christopher’s work appears on various solo, collaborative, and compilation albums by Electroshock Records (Russia), GD Stereo (USA), Locust Music (USA), Resonance Magazine (UK), DRAFT (USA), Soccer Mom Ebonics (USA), reductive music (Spain), banned production (USA), NAISA (Canada), mimeograph (USA), Ambolthue (Norway), and/OAR (USA), SoundWorks (Ireland), dorkbot-Seattle (USA), Public Record (proudly stateless), Present Sounds Recordings (USA), elektramusic (France), Spectropol (USA), and Move Records (Australia).

Christopher has received several awards and residencies, notably the Alpert Award/Ucross Residency Prize and an Artist Trust / Washington State Arts Commission Music Fellowship as well as fully-funded artist residencies at Engine 27, Harvestworks, and CENTRUM. In 2007, his album Favorite Intermissions: Music Before and Between Beethoven-Holst-Stravinsky was profiled in The New York Times, received accolades from The Wire magazine (“…a high-concept masterstroke by a guerrilla phonographer.”), and appeared as a Top 10 pick in Artforum.

A committed teacher, Christopher has taught master classes, guest-lectured, and conducted studio critiques at many colleges and universities including Peabody Institute of The Johns Hopkins University; The College of William & Mary; School of the Art Institute of Chicago; University of Washington; and Cornish College of the Arts.

As a music writer, Christopher’s articles, essays, and reviews have been published in The Stranger, Soundscape: The Journal of Acoustic Ecology, The Seattle Weekly, The Seattle Times, Signal to Noise, MSN Music, Leonardo Music Journal, The Believer, and Earshot Jazz.

Appearing in numerous exhibitions, radio broadcasts, and concert festivals, Christopher’s sound work has been heard around the world. Some notable performances: Radio National, Australia (2015), Goldsmiths (2014), Third Practice Festival (2013) Whitney Biennial (New York, 2012), Museum of Modern Art (New York, 2011), The Kitchen (New York, 2011), Chapel Performance Space (Seattle, 2011), INSTAL 10 (Glasgow, 2010), Bellingham Electronic Arts Festival (2009), Taipei Biennial (2009), the Seattle Improvised Music Festival (2002 and 2008), Spark Festival of Electronic Music and Arts (Minneapolis, 2008), Artivistic 07 (Montreal, 2007), Decibel Festival (Seattle, 2007), Unsafe2 Festival (Poole UK, 2006), Bumbershoot Visual Arts Festival: In Resonance (Seattle, 2005), Musica Nova (Ploesti Romania, 2003), Electric Rainbow Coalition Festival (Dartmouth College New Hampshire, 2003), Mixtophonics (Vancouver BC, 2001), Olympia Experimental Music Festival (1998, 2001), and Electromuse One (1997).

Christopher’s sound work resides at delaurenti.net along with many music-related essays and articles.

Claude Schryer (1959) is a franco-ontarian sound and media artist and arts administrator born and living on the unceded, unsurrendered land of the Anishinaabe Algonquin Nation (Ottawa). He holds a MM in composition from McGill U and was actively in involved in the acoustic ecology and electroacoustic music communities in the 80’s & 90’s. From 1999 to 2020 he held management positions at Canada Council for the Arts. In 2020 he launched the conscient podcast (balado conscient en français) about art and the ecological crisis. In 2021 he was a co-founder of the Sectoral Climate Art Leadership for the Emergency (SCALE). In 2023 he was chair of the Canadian Association for Sound Ecology. In 2024, he launched ‘a calm presence’ Substack.

Since 2000, I have developed a creative, experimental, and multidisciplinary practice, collaborating with various collectives, projects, and locations, having lived in France, England, the USA, Brazil, and Mexico. Returning to Portugal in 2018, I moved to the rural mountainous borderlands, initially in Campo do Gerês and now based in Soajo, Alto Minho, where the wellspring of creativity arises from the daily relationship with the rhythms and cycles of mountain life.

My artistic practice is based on a process of immersive listening and attunement to places, to weave connections and create resonances between environmental qualities and their communities, both human and non-human. I seek to expand the potential of places, give voice to realities that are barely perceptible or at risk of extinction, value ancestral knowledge and local raw materials, and create sensorial, animistic, and participatory experiences. My practice can result in ecological constructions, installations, workshops, tours, performances, audio and/or visual compositions, and publications, all aimed at raising awareness and reconnecting with the place where we live, as an integral part of Earth's web of life.

Currently, as a member of the Moving Cause association , I collaborate on the artistic direction of the Ser Montanha programming project , which includes residencies, meetings, and creative workshops in the Serra do Soajo. I am a member of the polyphonic singing group ' As Fiadeiras do Soajo '. I collaborate with Soajo Identidade e Património – Associação de Desenvolvimento Local, on the projects 'Monografia de Soajo' and 'Alcunhas de Soajo', collecting oral transmissions of the community's living memories.

The Cornell Lab of Ornithology is a member-supported unit of Cornell University in Ithaca, New York, which studies birds and other wildlife. It is housed in the Imogene Powers Johnson Center for Birds and Biodiversity in Sapsucker Woods Sanctuary. Approximately 250 scientists, professors, staff, and students work in a variety of programs devoted to the Lab's mission: interpreting and conserving the Earth's biological diversity through research, education, and citizen science focused on birds. Work at the Lab is supported primarily by its 100,000 members and supporters.

CRiSAP is a world-leading interdisciplinary research centre in the field of sound arts practice, based at London College of Communication (LCC).

With funding from UK Research and Innovation (UKRI) and various international bodies, CRiSAP has played a key role in establishing sound arts as a vital scholarly field within the arts and humanities.

Our dynamic and inclusive community brings together students at all levels with research-active academics, practitioners and visiting fellows from across the world.

We collaborate with renowned institutions and publishers such as TATE, Resonance FM and Bloomsbury on major conferences, exhibitions and publications.

Creative Research in Sound Arts Practice (CRiSAP) is a research centre at the University of the Arts London.

We draw on sonic expertise across disciplines to produce new insights and address major societal challenges through our current research themes.

CRiSAP is proud to have a vibrant and diverse community composed of members, visiting fellows, PhD research students and alumni. We promote an inclusive culture that upholds the highest standards of research.

daniel is a composer, digital media artist and field recordist currently residing in Sydney, Australia.

Although often working in the electroacoustic and videophonic domains, daniel ‘s output includes chamber, symphonic and wind orchestra works, sound installations, music for film, dance, radiophonic composition and various hybrid/ inter-media environments.

daniel’s works are widely performed, exhibited and presented internationally, and his compositions have received numerous international and national composition citations. He is a 2011 Churchill Fellow (Winston Churchill Memorial Trust, Australia), has worked in a wide variety of creative, academic, research and performative contexts and is a lecturer in the Composition and Music Technology faculty at the Conservatorium of Music, University of Sydney. daniel is also a represented composer at the Australian Music Centre, and the representative member/ councilor for composition at Music Australia (2012 – 2022).

daniel has undertaken numerous composition residencies, and self-directed recording intensives internationally (La Muse En Circuit, Paris, ZKM| Center for Art and Media, Institute for Music and Acoustics, Germany, CMMAS – Centro Mexicano para la Música y las Artes Sonoras, Mexico, Centre de Arts, Montreal, Visby international Centre for Composers, Sweden and Islao de Arts, Madagascar) and is an ardent location and environmental sound recordist, where he has embarked upon a growing number of expeditions throughout the high Arctic/ North Pole region of Svalbard, Africa, Amazon, West Indies, Northern Europe, Middle East, Alaska, Mexico, Cuba, Madagascar and Australia.

Whilst entirely self-taught in electroacoustic music and biomimetics, he has formally studied composition, creative and digital media arts at a number of Australian universities including, the School of Art and Deign (formally ‘COFA’) – UNSW and the University of Wollongong, Faculty of Creative Arts where his doctoral degree was recommended for special commendation. Other degrees include a BMus (hons), MMus, and a MA(r)

I’m an ARC Industry Research Fellowat the Queensland University of Technology and Bush Heritage Australia, based in sunny Brisbane, Australia. Acoustic ecology is a major focus of my research. I’m fascinated by the potential of studying animals and ecosystems through sound. Generally, I’m interested in animal vocal behaviour, threatened species monitoring, and soundscape ecology. Most importantly, I’m interested in applying conservation methods and technologies to real-world problems.

I work with many wonderful people in various organisations, including QUT’s Ecosounds Lab and other partners of the Australian Acoustic Observatory, Griffith University, CSIRO, University of the Sunshine Coast, the Queensland and NSW Governments, Birdlife Australia, the South-eastern Red-tailed Black-Cockatoo Recovery Team, the National Malleefowl Recovery Team and the Glossy Black Conservancy.

My PhD research (at the University of Queensland’s Centre for Biodiversity and Conservation Science and the NESP Threatened Species Recovery Hub) focussed on the conservation, behaviour and bioacoustics of the endangered Kangaroo Island Glossy Black-Cockatoo and South-eastern Red-tailed Black-cockatoo. I have several black-cockatoo research projects underway, but there’s room for plenty more.

Darren Copeland is a Canadian sound artist active in Toronto since 1985. He is also the founding and current Artistic Director of New Adventures in Sound Art (NAISA). Key interests of his work include multichannel spatialization for live performance, fixed media composition, soundscape studies, radio art and sound installations.

Copeland fixed media compositions have explored both abstract and referential sound materials. Many of these works are published on the empreintes DIGITALes label and have received mentions from Vancouver New Music, Phonurgia Nova, Luigi Russolo and other competitions. His radio art works engage in the associative qualities of environmental sounds in relation to spoken text and have been commissioned and presented by Deutschlandradio Kultur, the Canadian Broadcasting Corporation, WBEZ Chicago Public Radio, and Kunstradio (ORF). His sound installations include gallery and sited works which examine the relationship of sound and place. Activity in that area includes projects with Andreas Kahre as Copeland+Kahre, which includes a permanent installation in Edmonton, Canada.

Copeland’s work with multichannel spatialization took focus with residencies in Europe and Canada from 1999 to 2001 where he facilitated the exploration of automated octaphonic spatialization using the Richmond Sound Design Audiobox and ABControl diffusion software. In 2006 he developed a performance-oriented system using the Polhemus Patriot as a gestural controller along with customized software by Benjamin Thigpen. This system has formed the core of spatialization practice at New Adventures in Sound Art since that time. In 2011 he received a Canada Council for the Arts media arts production grant and an Ontario Arts Council Chalmers Family Research Fellowship to expand this performance system which lead to making spatialization an ensemble practice by adding two more spatialization performers who manually manipulate directional loudspeakers.

As Artistic Director of New Adventures in Sound Art (NAISA), Copeland has been curating a wide array of sound art events in Toronto, including the annual festivals Deep Wireless Festival of Radio and Transmission Art and the Sound Travels Festival of Sound Art as well as the series SOUNDplay and Art’s Birthday. NAISA’s programming is comprehensive and covers the entire spectrum of sound art from sound installations, to radio and concert presentations, and to new emerging media.

Darren Copeland is an Associate Composer Member of The Canadian Music Centre. He has served on the board of directors for the Canadian Association for Sound Ecology (CASE), the Canadian Electroacoustic Community (CEC), Vancouver Pro Musica, and Rumble Productions. He holds degrees from University of Birmingham and Simon Fraser University.

David Dunn is a composer and artist who primarily engages in site-specific interactions or research-oriented activities. Much of his current work is focused upon the development of listening strategies and technologies for environmental sound monitoring in both aesthetic and scientific contexts. Dunn is internationally known for his articulation of frameworks that combine the arts and sciences towards practical environmental activism and problem solving.

From 1970 to 1974, he was an assistant to the American composer Harry Partch and remained active as a performer in the Partch ensemble for over a decade. Other mentors included composers Kenneth Gaburo and Pauline Oliveros, in addition to Polish theater director Jerzy Grotowski.

He has been the recipient of over 35 grants and fellowships for both artistic and scientific research, including the National Endowment for the Arts, the Rockefeller Foundation, Langlois Foundation, McCune Foundation, Meet the Composer, Ford Foundation, Delle Foundation, Tides Foundation, New Mexico Arts Division, and various US embassies. In 2005, he received the prestigious Alpert Award for music, and the Henry Cowell Award from the American Music Center in 2007. His compositions and soundscape recordings have appeared in over 500 international forums, concerts, broadcasts, and exhibitions.

As a pioneer in the fields of acoustic ecology, bioacoustics, interspecies communication, and scientific sonification, he has composed a body of innovative and experimental work and has contributed to projects as diverse as sensory enhancement of healthcare environments, intervention strategies for forest and agricultural pests, reducing sensory deprivation problems in captive animals, and the design of international broadcast networks.

He has investigated, among other things, the interrelationship between music and language and the ultrasonic world beyond human hearing. As an expert wildlife recordist, Dunn has invented microphones to record such phenomena as the sounds of bark beetles within trees and underwater invertebrates in freshwater ponds, and the design of self-organizing autonomous sound systems for interaction between artificial and natural non-human systems. As a scientific researcher, Dunn is about to co-file a provisional patent on a device and protocol for control of tree invading invertebrates using acoustic means.

David Haskell is a writer and biologist. His latest book, Sounds Wild and Broken, was finalist for the Pulitzer Prize in General Nonfiction, finalist for the PEN/E. O. Wilson Literary Science Writing Award, and winner of the Acoustical Society of America’s Science Communication Award. The New York Times listed the book as an “Editor’s Choice”. Sounds Wild and Broken explores the story of sound on Earth. Starting with the origins of animal song and traversing the whole arc of Earth history, he illuminates and celebrates the emergence, diversification, and loss of the sounds of our world, including human music and language.

Haskell holds degrees from the University of Oxford (BA) and from Cornell University (PhD). He was William R. Kenan Jr. Professor of Biology and Environmental Studies at the University of the South, where he also previously served as Chair of Biology and Director of the Environmental Arts and Humanities major. He is a Fellow of the Linnean Society of London, a 2014-2015 Fellow of the John Simon Guggenheim Memorial Foundation, a Fellow of the American Council of Learned Societies, and an Elective Member of the American Ornithologists’ Union. His scientific research on animal ecology, evolution, and conservation has been sponsored by the National Science Foundation, the Environmental Protection Agency, the Fish and Wildlife Service, the World Wildlife Fund, among others. He has served on the boards and advisory committees of local and national land conservation groups. Haskell’s classes have received national attention for the innovative ways they combine action in the community with contemplative practice. In 2009, the Carnegie and CASE Foundations named him Professor of the Year for Tennessee, an award given to college professors who have achieved national distinction and whose work shows “extraordinary dedication to undergraduate teaching.” The Oxford American featured him in 2011 as one of the southern U.S.’s most creative teachers. His teaching has been profiled in USA Today, The Tennesseean, and other newspapers.

David Monacchi is an Italian sound artist, researcher and eco-acoustic composer, best known for his multidisciplinary project Fragments of Extinction, patented periphonic device, the Eco-Acoustic Theatre, and award-winning music and sound-art installations.

Monacchi is internationally recognized for his pioneering work with nonprofit organizations, such as Greenpeace, the World Wildlife Foundation (WWF), and Ear to the Earth, to capture and preserve the unique sonic heritage of the world’s rapidly vanishing, last remaining areas of undisturbed primary equatorial rainforest; his many thousands of hours of field work dedicated to the creation and development of a growing sound bank of these remote ecosystems, which provides raw data for the scientific analysis and study of the world’s most critically endangered biodiversity hotspots; and for raising public awareness and fostering discourse on the biodiversity crisis through his musical compositions and immersive sound installations.

David Rothenberg has written and performed on the relationship between humanity and nature for many years. As a composer and jazz clarinetist, Rothenberg has at least forty albums out under his own name, including On the Cliffs of the Heart, named one of the top ten releases by Jazziz Magazine in 1995 and a record on ECM with Marilyn Crispell, One Dark Night I Left My Silent House.

Why Birds Sing is also published in England, Italy, Spain, Taiwan, China, Korea, and Germany. It was turned into a feature length BBC TV documentary. His following book, Thousand Mile Song, is on making music with whales. It was turned into a film for French television. A fifteenth-anniversary new edition came out in 2023, called Whale Music.

His book, recording, and film Nightingales in Berlin, was published in April 2019. In 2020 it came out in German as Stadt der Nachtigallen. There is also an audiobook version read by Eva Mattes, on Spotify worldwide. In 2024 it came out in French as Un Rossignol dans la Ville.

In 2024 he released Secret Sounds of Ponds, a book/music/performance initiative which reveals the unknown music beneath the surface of even the most ordinary of ponds. Right in our backyards are beautiful mysteries!

In 2024 Rothenberg also won a Grammy Award in the category of Best Boxed Set as one of the curators and musicians of For the Birds, a 20-LP set produced by Randall Poster and The Birdsong Project.

Rothenberg has a podcast series called Soundwalker. His latest streamed concerts are on his Youtube channel.

Derek spends much of his time recording sounds of the natural world – from ants to elephants and everything in between, creating soundscapes or audio pictures of the environment and its inhabitants that can be shared by everyone. Hopefully they will make you think differently about only using your eyes to take in nature. Sometimes we just need a little help to rediscover the art of listening.

Using a microphone and amplifier, the natural sounds in our soundscapes are brought into a close and intimate range, exposing vivid detail that may be entirely new to you.

Birds, mammals, insects and amphibians all produce sounds. Some of them, like hippos, whales, fish and a variety of aquatic insects communicate under the water; or like elephants, even under the ground. Many of these sounds are at levels that we cannot hear, but with the use of specialised microphones it is possible to bring them into our audible range.

Extensive research has shown that listening to sound from the natural world can reduce the physical and psychological symptoms of stress.

Sound recording has not only brought us much pleasure but has also led to collaborations with zoos and institutions to create unique soundscapes for their specific needs. Contact us should you need a special soundscape.

Diana Chester is a sound studies scholar, educator, and artist whose work produces critically influential studies, methods, and outputs that use sound to traverse disciplinary boundaries using feminist, anti-colonial, and post-anthropocentric approaches to thinking and making. Their work draws from sound studies, archival studies, and ethnography and relies on field recording and composition to explore sound in diverse contexts by putting research and practice in direct conversation—deepening the capacities of both. Current projects include the study of sound and culture focused on religion and the environment, the audio essay as a form of sonic scholarship, and new artistic methods and practices to sonify scientific data sets.

Chester is the author of Sonic Encounters: The Islamic Call to Prayer, which gives a glimpse into the creative, methodological, and artistic implications of a 10-year research project making field recordings of (adhan) the Islamic call to prayer at mosques around the world. Chester’s broader body of work includes numerous journal articles, sonic compositions, and solo exhibitions in the United States, Australia, India, Sweden, Iceland, Mongolia, Singapore, and the United Arab Emirates.

Chester is Senior Lecturer in Media and Communications at the University of Sydney, and has held visiting academic positions at NYU’s TISCH School of the Arts and Duke University. Chester has been commissioned by the Smithsonian, been resident artist at Inter Arts Centre in Malmo, Sweden (2019), ArtsIceland in Ísafjörður, Iceland (2022), and Red Corner in Ulaanbaatar, Mongolia (2023). Chester has been the recipient of a Sydney Environment Institute Collaborative Fellowship, named a Powerhouse Research Fellow at the Museum of Arts and Applied Sciences, and currently holds a visiting scholar appointment at the Oxford Center for Life-Writing. Chester received a BA from Mount Holyoke College, an MA from Columbia University, and a PhD from the University of Porto.

I am a xwélmexw scholar and artist (Stó:lō/Skwah). From 2015-2022 I was the Canada Research Chair in Indigenous Arts at Queen’s University on Haudenosaunee and Anishinaabe lands. As of July 2022 I am excited to return home to lhq’a:lets / Vancouver to serve as Associate Professor at the University of British Columbia in the School of Music, and Advisor to the Dean on Indigenous Arts.

My work takes various forms including writing (from event scores to autotheory), gatherings, curatorial practice and interarts creation. This range of forms offers me a space to integrate the sonic, visual, poetic and material that are inseparable in Stó:lō culture. Across these forms, I identify as a scholar of sound studies and visual studies, as a collaborator on interdisciplinary research-creation, and as a facilitator (curator/dramaturge) of art and gathering.

In the area of Indigenous sonic culture, my research centers the epistemological stakes of listening positionality. Much of my research has examined the appropriation of Indigenous song in contemporary classical music, and artistic practices of repatriation and redress. Continuing this work, I lead the Indigenous Advisory Council of the Canadian Music Centre as co-chair with Marion Newman, to redress the appropriation of Indigenous song and mis-reperesentation of Indigenous culture in Canadian compositions. Another project, Xóxelhmetset te Syewá:l | Caring for Our Ancestors, involves Indigenous-led processes for re-connecting kinship between Indigenous songs and material culture—variously understood as loved ones, ancestors, life—and the communities that they come from. The project also takes as a central objective an examination of the carceral logics of museums as spaces that confine Indigenous life.

My research on Indigenous public art is characterized by a focus on inter-arts forms (text-based art, sound art and devised performance) that engage multiple senses. This work questions how Indigenous rights and settler colonialism are embodied and spatialized in public space. My most recent work in this area examines public art and civic beautification initiatives in Canada that interpellate settler subjectivity by re-materializing colonial history. Doing so enacts violence toward Indigenous lands as a non-human relation that such work is situated upon.

In all these areas my aim is to prioritize Indigenous resurgence and to re-envision dominant scholarly modes of dissemination (writing, gathering, festival and exhibition curation), working toward forms of expression that convey the sensory experience of Indigenous life, and address Indigenous publics. This work has been recognized by the Native American and Indigenous Studies Association’s Best First Book Award (Hungry Listening), the American Musicological Society’s Ruth Solie Award (Music and Modernity) and the Society for Ethnomusicology’s Ellen Koskoff Prize (Music and Modernity) in addition to other awards I have been honoured to receive.

As a Halq’emeylem language learner, I seek to engage the vibrancy of shxwélmexw concepts and to foster the emergence of a future public of Halq’eméylem speakers.

Label founded by Jim Cummings , specializing in environmental sound art.
Motto : The Voice of the Planet is the Muse .

EarthEar was born in 1998. With the (now obviously grandiose) goal of bringing soundscape art into public consciousness in the way that Steiglitz's attention to artists working with photography had lifted that medium from its documentary roots and popularized it as a creative art form .

Experimental sound art and environmental preservation meet through the actions and publications of EcoSono. By involving the arts in environmentalism with the assistance of science, EcoSono hopes to cultivate a close and productive relationship between people and the places they inhabit. The organization pursues commonalities between innovative musical creation and ecological awareness. Through education, engagement and artistic production, EcoSono defines a unique methodology for environmentalism and the arts. It does this in three ways: 1) with an Institute for the study of ecoacoustics, environmentalism and music, 2) by sponsoring performances, lectures, and other forms of performative culture-environment engagement, and 3) with publications such as musical albums, videos and multimedia. EcoSono is a 501(c)(3) non-profit tax exempt organization.

Emily Duncan Wilson (she/her) is a sound designer, public radio host, and educator from New England. She focuses her acoustic ecology practice on recording and telling the sonic stories of the land in which she inhabits. She weaves narrative work with field recordings and original music to make pieces that cross-genre. Most recently, her work was heard at The Botanic Garden of Smith College in a piece called "savor/spine," exploring the resilience of desert plants. She currently resides in Portland, ME with her partner and is a Classical Host/Producer for Maine Public Classical. B.A. Smith College (Music), M.F.A. Yale School of Drama (Sound Design).

Eric Leonardson, a Chicago-based audio artist, serves as co-founder and President of the Midwest Society for Acoustic Ecology and Vice President of the World Forum for Acoustic Ecology. He is Associate Professor Adjunct in the Department of Sound at The School of the Art Institute of Chicago (SAIC). As a performer, composer, and sound designer, Leonardson created sound with the Chicago based physical theater company Plasticene (1995–2012). Leonardson served as a co-founder of the World Listening Project and, since 2008, as its president and board chair from 2015 until 2021. Since 1994, he performs locally and internationally with the Springboard, a self-built instrument made in 1994 and often presents on acoustic ecology to new audiences.

Eve Payor (aka Lady Eve) is a musician, artist, dendrophile, and the owner of Singing Pines. She is a Druid Bard with the Orders of Bards, Ovates and Druids. Eve grew up in Atlanta and spent summers in Appalachia basking in the aroma of the forest and playing in mountain streams. She is a certified forest bathing guide by the Association of Nature and Forest Therapy, and enjoys sharing her passion for soundscape and sensory learning. As an active Zazen practitioner, she incorporates meditation and subtle awareness throughout her endeavors. Her artistic advocacy focuses on the connection between music, environment, accessibility and wellness. In 2016 she began to lead an ongoing series of soundwalks, which gives the public opportunities to experience natural surroundings through listening techniques, meditative breathing, and contemplative focus. In recent years, the soundwalk program has grown into an artist residency called the ACA Soundscape Field Station at Canaveral National Seashore, and an accessibility program for blind and partially sighted youth called Young Sound Seekers, sponsored by the National Park Service. These programs highlight the growing importance of environmental sound (soundscape) on the quality of health for all living creatures. As a musician and soundscape artist, she uses field recordings, electronic music, spoken word, and classical oboe in her compositions and collaborations. She has performed at the Mutek Mexico Festival, 800 East Atlanta Art Collective, been a curator at Vancouver’s alternative performance festival: Signal & Noise, and produced her Pan Ambient event series with Seattle’s Decibel Festival. In 2016, she produced an interactive gallery exhibition called Watercolors in Sound at Atlantic Center for the Arts showcasing a sound/video/photography installation of field recordings from the New Smyrna Beach soundwalks. Eve has been a featured artist-in-residence at Hambidge Center in North Georgia, Serenbe AIR in Chattahoochee Hills Georgia, and a featured artist at Timucua Arts Foundation Orlando, and the Atlanta Science Festival.

Felicity Mangan is an Australian artist and composer based in Berlin, Germany. Her investigations and works are primarily influenced by the biomes of wetlands, waterways, and soil. She combines field recordings, electroacoustic composition, and electronic music techniques to create immersive, quasi-bioacoustic music aided by digital audio tools. Her compositions have been presented in multichannel installations, live performances, site-specific settings, and published works.

Felicity has released solo publications on Longform Editions titled Stereo’frog’ic, a play on the word stereophonic – presenting a sound piece, crafted from found recordings of frogs, insects and other ‘vocal’ animals wavering about in a stereo field. A tape release titled Creepy Crawly on Slovakian label Mappa Editions and Bell Metal Reeds (One Instrument) and more recently Wet on Wet (Warm Winters Ltd./KlangKlang),Train tracks...(Possible Motive) and Körner Park Single (Care of Editions). As well as a former duo project release with Stine Javin Native Instrument – Camo (Shelter Press) Felicity has presented projects in many different settings from galleries, gardens, clubs, festivals and online platforms throughout Europe, including National Gallery Denmark, Technosphärenklänge CTM/HKW, Sonic Acts Academy, INA GRM (Groupe de Recherches Musicales) Paris, RIVERSSSOUNDS.org and sound design for 100 Climate Conversations , Powerhouse Museum, Sydney, Australia.

Artista sonoro y gestor radicado en Valparaíso. Su trabajo está enfocado en la investigación del sonido y la
escucha como experiencia y fenómeno social. Ha trabajado como director del Festival Tsonami por mas de diez
años. Como artista ha producido obras radiales, instalaciones sonoras, composiciones experimentales,
performances sonoras y proyectos web, presentandose en Chile, Perú, Canadá, Colombia, Estonia, Italia,
Australia, Grecia y Alemania. Actualmente es director del Festival de Arte Sonoro Tsonami, director de B.A.S.E
Tsonami centro de artes sonoras, co-curador de Sala BASE galería de artes sonoras, co-editor de la Revista de
Arte Sonoro y Cultura AURAL, director artístico de Radio Tsonami, editor del sello Tsonami Records y la
plataforma Audiomapa.

Fin is passionate about expanding the human experience through innovative uses of technology in the arts. With backgrounds in music, live production and events, Fin brings a holistic approach to a range of creative projects including audiovisual performance, projection artwork, and interactive installation.

Our lab uses mostly fish models such as sand gobies (Pomatoschistus spp.), Lusitanian toadfish (Halobatrachus didactylus) and African cichlids (Oreochromis mossambicus, Metriaclima spp.) to address exciting questions related to acoustic communication using behavioural, physiological and ecological approaches.

FLEURIEU & KANGAROO ISLAND SOUND MAP (FKISM) is an acoustic ecology project facilitated by South Australian sound artist, Tristan Louth-Robins.

Since 2011, sonically significant sites on the Fleurieu Peninsula have been sought out and documented. Although the sound map began in earnest as a field recording project, simply documenting sites across the Fleurieu, in recent years, the sound map has placed a greater emphasis on aspects of acoustic ecology and monitoring the biodiversity of given sites over yearly cycles.

In 2020, the scope of the project was expanded to include Kangaroo Island.

Sites that are selected for inclusion in the map are evaluated upon a criterion of biophonic, geographic, phenomenological, aesthetic and historical attributes.

Francisca Rocha Gonçalves is an interdisciplinary researcher and artist whose work sits at the intersection of sound, science, and environmental activism. With a diverse academic background in biological sciences (Veterinary Medicine), Multimedia (Master’s), and a PhD in Digital Media from the University of Porto, she brings together technology, ecology, and artistic expression to explore underwater soundscapes and noise pollution.

Her research in acoustic ecology centres on the effects of underwater vibrations and particle motion, exploring how anthropogenic noise affects aquatic life. By leveraging sound art and creative technologies, Francisca seeks to raise societal and environmental awareness, translating scientific research into accessible artistic expressions. Her work offers new perspectives not only for musical compositions but also for live performances that foster a deeper connection between humans and the natural world.

Currently, Francisca teaches a course titled Reflecting Human-Environment Relations Through Sound at Bard College Berlin. She is also the artist-in-residence for “A Call to the Sea”, part of the EU-funded Bauhaus of the Sea Sails project. This residency, in collaboration with Aquário Vasco da Gama, Câmara Municipal de Oeiras, and the Fundação Calouste Gulbenkian, explores innovative solutions to reconnect humans with nature while reflecting the zoological collection of the Aquarium.

Freya Zinovieff is an interdisciplinary scholar, sound artist and curator of British and Russian descent, currently completing her PhD at The School of Interactive Arts and Technology, Simon Fraser University. Her thesis, Situated Praxis: Activist Listening in Violent Times, examines the political potential of sound, alongside decolonial and ethical listening as critique to hegemonic systems of power. Freya’s MFA, awarded by The University of New South Wales, questioned different conceptions of infinity through the medium of graphic notation, and she holds a First-Class Honours degree from Cambridge School of Art at Anglia Ruskin University.

Freya’s curatorial practice seeks to challenge both colonial hierarchies and aesthetic sensibilities, and foregrounds collaboration as an act of resistance. She is interested in work that that engages decolonial and anti-imperial thinking in radical ways, and especially through the amplification of voices that seek disruption for the purposes of justice and community building. Freya’s curatorial projects range from conceptual art trails in Cambridge (UK) that utilize non-gallery spaces, challenging colonial value judgements around what is considered art, or beautiful, and where ‘beautiful art’ should be shown; to an online sound art gallery that commissioned new works from five BC-based sound artists of marginalized gender, to explore the potential of accessible sound art.

More information on these projects and Freya’s work in general can be found in the links below:

http://criticalmediartstudio.com/

https://chaotic-rhythms.ca/

https://radicalpraxislab.com

GainForest.Earth is a decentralized science non-profit and XPRIZE Rainforest winner. Together, we archive earth’s nature data to inform transparent environmental decision making.

Garth Paine (PhD) is a professor of Digital Sound and Interactive Media at the School of Arts Media and Engineering and Digital Culture program at Arizona State University and Professor of Composition at the School of Music at ASU, where he is also a Senior Sustainability Scholar with the Julie Ann Wrigley Global Institute of Sustainability

He has published extensively on topics ranging from the history of sound technology to the role of sound in environmental activism. He holds a patent for automatic gunshot detection which he developed for the Phoenix Zoo’s jaguar corridor in Costa Rica. His innovative eco-acoustics work has cemented his place as a core team member in Team Waponi in the finals of the 2023 XPrize Rainforest competition.

He is internationally regarded as an innovator in the field of interactivity in experimental music and media arts. He gave the Keynote at the 2016 NIME conference

In 2018, Garth was researcher and artist in residence at IRCAM (Paris and ZKM (Kalshrue). He continues development of the CellPhone performance system, ActiveListener with colleagues at IRCAM.

Garth's passion for sound as an exhibitable object has given rise to interactive environments where the sonic landscape is generated through gesture, presence and behavior and several music scores for dance works using realtime video tracking and bio-sensing and musical compositions that have been performed in Australia, Europe, Japan, USA, South America, Hong Kong and New Zealand and in 2014, Korea, Macedonia, France, UK.

Hi there. I’m George Vlad and I record sounds. I founded Mindful Audio back in 2014 so I could share my recordings with anyone who would enjoy listening to them. I like to focus on pristine natural soundscapes free from human influence, of which there are less and less every day.

My quest to escape man-made noise takes me to remote and sometimes inhospitable parts of the world. This is more than fine with me as I love exploring and I don’t shy away from a bit of adventure. Check out my blog for expedition reports and equipment reviews.

Over the years I’ve had the privilege to be involved in some pretty amazing projects, from Dune part 2 and Mufasa the Lion King to Horizon Forbidden West, Wordscapes and many others.

Born and raised in Italy, Giorgio Magnanensi currently lives in Xwesam (a.k.a. Roberts Creek) on the Sunshine Coast of British Columbia, Canada. His diverse artistic practice includes composition, conducting, improvisation, circuit bending, video art and sonic and spatial explorations. He is artistic director of Vancouver New Music and Laboratorio, and lecturer at the School of Music of the Vancouver Community College.

Gordon Hempton, the Sound Tracker. An acoustic ecologist who’s spent the last four decades seeking out natural vanishing soundscapes around the world, he’s on a mission to save silence.

I am multi-disciplinary artist with a long history as performance artist, writer (in many genres), digital media artist, installation artist, and conceptual artist. I have worked independently and as part of various collectives and partnerships, to produce works that range in scale, from the giant celebratory spectacles of Nati Frinj and Poppet Bendigo to solo works on salt-lakes, golf courses and riverbanks. My personal performances deal with philosophical, political and environmental issues and range from socially engaged to theoretical and individual.

I am an experienced teacher and arts administrator, and have a Doctorate in Literature and Environmental Philosophy (Deakin) and a Masters in Art (Art in Public Space – RMIT). I am currently producing projects in both NSW and Victoria.

PhD Heikki Uimonen is holding a post of research director at the University of Eastern Finland. He has worked as professor at the University of the Arts (2012–2017) and at the University of Eastern Finland (2020–2021, 2022–2023).

Uimonen is an ethnomusicologist and a docent on acoustic communication and soundscape studies at the University of Eastern Finland and University of Tampere and recording and performing musician. He has published and co-published extensively articles, monographs and edited anthologies on music consumption, radio music, compact cassettes, background music and transforming sensory environments. His research interests include sonic construction of place, mediated music, social use of music, transforming sensory environments and how all these intertwine. He is a board member of Finnish Society for Acoustic Ecology.

Uimonen is currently directing Academy of Finland and Niilo Helander foundation financed project SOMECO – Sonic Mediations and Ecocritical Listening (2024–2027) investigating soundscapes of six European villages and a research project on social use of jukeboxes in Finland. He is a member of COST project Architecture and Urban Ambiance of European Cities CitySenZ (2024–2028).

He has directed project ACMESOCS. Auditory Cultures, Mediated Sounds and Constructed Spaces (2019–2022) and European Commission financed Finnish team on multinational B-Air Art Infinity Radio Creating Sound Art for Babies, Toddlers and Vulnerable Groups project (2020–2024). He has examined how contemporary audio technology can be used in soundscape participatory research and led projects Muuttuvat suomalaiset äänimaisemat (Transforming Finnish Soundscapes, 2014–2015) and sub-project on Health Supporting Multisensory Food Environment (2015–2017).

Uimonen was a member of management committee of COST project Soundscapes of European Cities and Landscapes (2009–2013); member of project group European Acoustic Heritage (2011–2013) defining, describing and analysing sound cultures of Europe; and in Sensotra team (2018–2019) studying sensory environments of cities of Turku, Brighton and Ljubljana.

Dr Helen Dilkes is an artist-jeweller-researcher, with a background as a contemporary classical flautist, and soundscape educator-researcher, who lives and works on Wurundjeri country, Melbourne, Victoria, Australia. The notion of a sort of articulation of temporal-spatial continuum, as an expression of the unity-multiplicity of our existence in the world is at the heart of her work.

Helen completed a PhD (Art), RMIT University, Melbourne, 2017, with supervisors in Gold and silversmithing (Emeritus Professor Robert Baines first three years, Adjunct Professor Kevin White for year four), and Architecture (Professor Jane Burry); holds an MFA, RMIT (Gold and silversmithing); MEd, University of Melbourne, and BMus, University of Western Australia.

Helen’s solo exhibitions include Geometries in time… slicing the cone, Red Gallery, Fitzroy North, 2022; and Time Concertinaed… a studio installation, online exhibition, Radiant Pavilion, Melbourne contemporary jewellery and object biennial, 2021; Non-Euclidean transformations, beyond object, fluidifying, Brunswick Street Gallery, Fitzroy, 2017; Non- Euclidean transformations: multiplicity in a contemporary art jewellery practice, School of Art Gallery, RMIT University, Melbourne, 2016.

Helen’s artistic work has been selected for group exhibitions locally and internationally, including ITAMI International Jewellery Exhibition, The Museum of Arts & Crafts, Itami, Japan, 2023, also for ITAMI exhibitions in 2019, and 2017; Re:ACTION, Budapest Jewelry Week exhibition 2023, and PARADOX, 2022 selector Gijs Bakker; Dynamics of Air International Exhibition, RMIT Gallery, Melbourne, 2018; MasterMakers exhibition, Radiant Pavilion jewellery and object biennial, RMIT Gallery, Melbourne, 2019; and Beijing International Jewelry Exhibition, China, 2017.

Helmi Järviluoma-Mäkelä (born 1960 in Ylivieska, North Ostrobothnia) is a Finnish sound, music, and cultural scholar and writer. She is a Professor of Cultural Studies at the University of Eastern Finland. As sensory and soundscape ethnographer, Järviluoma has developed the mobile method of sensobiographic walking. Her research and art spans the fields of sensory remembering, qualitative methodology (especially regarding gender), environmental cultural studies, sound art and fiction writing. Her main research interest has for decades been soundscape studies, culminating into the internationally groundbreaking publication Acoustic Environments in Change (2009) together with Simon Fraser University. The book sums up a major research effort – four consecutive interdisciplinary, international soundscape research projects studying the changing European soundscapes. The book has already become a ‘classic’ and a model for several soundscape ethnographies throughout the world. Her co-operation with the Canadian World Soundscape Project WSP and World Forum for Acoustic Ecology includes the co-founding of the International Yearbook of Soundscape Studies which became the Soundscape journal, together with the founder of the field R. Murray Schafer, many keynote speeches in conferences and the heading of the organizing committee of large annual global conference in 2010. A co-worker since 2003 has been Steven Feld, one of the founders of anthropology of senses, with whom we have worked on several research projects, and created two radio features, combining art and science, for Finnish Broadcasting Company. One of her radio features, Lesconil - memories of listening, was shortlisted to be sent to Prix Italia by Radio Atelier, FBC, in 2006.

Hildegard Westerkamp was born in Osnabrück, Germany in 1946, emigrated to Canada in 1968, and since then has lived on the ancestral lands of the Coast Salish peoples - the Squamish (Sḵwx̱wú7mesh), Tsleil-Waututh (Stó:lō and Səl̓ílwətaʔ/Selilwitulh), and Musqueam (xʷməθkʷəy̓əm) Nations. After completing her music studies at the University of British Columbia in the early seventies she joined the World Soundscape Project under the direction of R. Murray Schafer at Simon Fraser University (SFU). Her involvement with this project not only activated deep concerns about noise and the general state of the acoustic environment in her, but it also changed her ways of thinking about music, listening and soundmaking. Vancouver Co-operative Radio – founded during the same time - provided an invaluable opportunity to learn much about broadcasting, and ultimately enabled her to produce and host her weekly program Soundwalking in 1978/79.

One could say that her career in soundscape composition and acoustic ecology emerged from these two pivotal experiences and found support in the cultural and political vibrancy of Vancouver at that time. In addition, composers such as John Cage and Pauline Oliveros have had a significant influence on her work.

While completing her Master's Thesis Listening and Soundmaking - A Study of Music-as-Environment, she also taught acoustic communications courses until 1990 in the School of Communication at SFU together with colleague Barry Truax. Since then she has written numerous articles and texts addressing issues of the soundscape, acoustic ecology and listening, has travelled widely, giving lectures and conducting soundscape workshops internationally.

In 1993 she was instrumental in helping found the World Forum for Acoustic Ecology (www.wfae.net), an international network of affiliated organizations and individuals who share a common concern for the state of the world’s soundscapes. She was chief editor of its journal Soundscape between 2000 and 2012.

On June 14, 2024 Simon Fraser University awarded Hildegard Westerkamp an honorary degree, Doctor of Fine Arts, honoris causa.

Holger Schulze (*1970) is full professor in musicology at the University of Copenhagen and principal investigator at the Sound Studies Lab. He serves as co-editor of the international journal for historical anthropology Paragrana and as founding editor of the book series Sound Studies. He was associated investigator at the cluster of excellence Image Knowledge Gestaltung: an interdisciplinary laboratory at the Humboldt-Universität zu Berlin and founding member of the European Sound Studies Association. Between 2008-2016 he was director of the international research network Sound in Media Culture, and between 2000-2009 he was a co-founder and the first head of department of the new MA-programme in Sound Studies at the Universität der Künste Berlin. He was invited visiting professor at the Musashino Art University in Tokyo, at the University of New South Wales in Sydney, at the Leuphana Universität Lüneburg, and at the Humboldt-Universität zu Berlin. He served as a curator for the Haus der Kulturen der Welt Berlin, produced radio features for Deutschlandradio Kultur and he writes for Merkur, Seismograf, Neue Zeitschrift für Musik, Positionen, Texte zur Kunst, taz - die tageszeitung, der freitag. Portrait: „For Holger Schulze, immersive listening is his soundtrack to everyday life“ (2019).

Violinist/composer, zoömusicologist, and ornithologist Hollis Taylor is an ARC Future Fellow at the Sydney Conservatorium of Music. Previous research fellowships include the Institute for Advanced Study (Berlin), Museum of Natural History (Paris), University of Technology Sydney, and Macquarie University.

Taylor performs her (re)compositions of avian songs on violin along with her field recordings, and also rethinks pied butcherbird repertoire for other human instruments and voices. Central to her compositional ethos is celebrating avian achievements rather than adding human “improvements.”

Hollis Taylor is a unique figure in music. Once the youngest member of the Oregon Symphony and concertmaster/soloist at Wolf Trap Center for the Performing Arts in Washington DC, she went on to win the Oregon State Fiddle Championship. Since then, she has continued to defy categorisation.

Taylor playing is featured in two Gus Van Sant films, My Own Private Idaho and Even Cowgirls Get the Blues. The American Center in Paris awarded her a two-year residency at the Cité Internationale des Arts for 1993-94. While based in Paris, Taylor performed and recorded jazz and folk music throughout Europe. She is the author of six books of American fiddle transcriptions and arrangements and regularly contributes in-depth articles, interviews, and music criticism to Strings, Stringendo, and Fiddler magazines.

As a composer, Taylor also blurs the lines between classical, jazz, and folk. European folk music in compound meter-inspired Unsquare Dances (1995), composed during a year's residence in Budapest, Hungary. Trail Mix for Five Scordatura Violins was the 2000 First Prize winner in the National League of American PEN Women. Box Set is Taylor's re-take of the J. S. Bach Solo Violin Partita in B minor, reflecting Afro-Cuban, bebop, blues, and funk sensibilities, the product of a 1997 artist's residency at Altos de Chavon in the Dominican Republic, awarded by Parsons School of Design in New York City. In 2000, she received grants from the American Composers Forum, Meet the Composer, and the Portland Baroque Orchestra to compose Groove Theory, a violin concerto for British Baroque violinist Monica Huggett.

Dr Toby Gifford is a designer, creative coder, and interdisciplinary media arts practitioner, with a particular interest in virtual/augmented reality and immersive installation. He has worked across industry and academia at the intersection of art and technology, with extensive professional experience in software programming and systems design. His research spans a broad range of areas including: application of artificial intelligence to the creative industries; environmental sensing for ecosystem health monitoring; and modelling and data visualisation to aid design.

The International Institute of Ecoacoustics (Insteco) is an independent, non-profit association devoted to the study of the role of sound in the ecology of species, populations, communities, ecosystems, and landscapes. It operates in collaboration with universities, public and private research centers, industry, and citizens to implement the application of the ecoacoustics approach to nature conservation and to reinforcing human well-being. The institute wishes to maintain a world where the sound of nature punctuates habitat and ecosystem dynamics and where nature and people live in harmony.

After her well recognised LOM debut “Soundscapes of summer” Izabela comes back with a new field recording work, focusing on soundscapes of spring. Various closeup recordings of blackbirds, mistle thrushes, golden orioles and many others are joined by natural ambiences of endangered Bialowieza primeval forest, Siemianowka lake or Biebrza marshes.

“As I am blind since birth, I have always been particularly sensitive to sounds. When I was a child, I became interested in bird voices, which soon led me to discover nature recording. I started with a noisy, hissing tape recorder, but what treasures those recordings seemed to me at that time! Now, sixteen years later, I am still following my passion, but with a fully professional equipment. Through recording the natural world, I try to capture its beauty, its subtle music, its gentle voice. I try to understand its mystery: the mystery of life – this indescribable treasure we share with all the creatures, the mystery of fleeting moments, of sadness and hope brought by changing seasons... It is through observing nature that I have received perhaps the greatest lessons regarding the meaning of life in general and the meaning of my own life. Through my recordings, I hope to share with you some glimpses of wisdom and beauty of the natural world.” – Izabela Dłużyk

Jacek Smolicki (born during martial law in Kraków) is a Stockholm-based cross-disciplinary artist, designer, researcher and educator. His work explores temporal, existential and technological dimensions of listening, recording and archiving practices in human and more-than-human realms.

Besides engaging with historical archives, media, and heritage, Smolicki develops other modes of sensing, recording, and mediating stories and signals from specific sites, scales, and temporalities. His work is manifested through hybrid soundwalks, soundscape compositions, diverse forms of writing, site-responsive performances, experimental archives, and audio-visual installations.

He has performed, published, and exhibited internationally (e.g. In-Sonora Madrid, Atlantic Center for the Arts, Moscow International Biennale for Young Art, AudioArt Kraków, Ars Electronica, Linz, Sonorities, Belfast, and Historical Museum of Bosnia and Herzegovina, Sarajevo). His broad range of site-responsive artistic and research activities includes projects concerned with the soundscapes and timescapes of:

Nordic Arctic Circle, (facilitated by Swedish Research Council, Polar Research Secretariat in Abisko, Kilpisjärvi Biological Station and Bioart Society in Helsinki),

Canadian Pacific Coast, (facilitated by New Music Vancouver and Swedish Research Council),

Walden Pond area, (facilitated by Harvard University, Walden Pond State Reservation and Swedish Research Council),

Canaveral seashore, (facilitated by Canaveral National Seashore, US National Park Service and Atlantic Center for the Arts),

World's tallest wooden radio mast in Gliwice, (facilitated by Silesian Metropolitan Network),

The oldest American bells (in collaboration with Bell Ringers Guild and Old North Church in Boston),

Three-Country Cairn, a border point of Sweden, Norway and Finland (facilitated by Bioart Society),

Arnold Arboretum at Harvard University, (facilitated by Arnolds Arboretum),

UFO testimonies (facilitated by the Archives for the Unexplained in Nörrköping),

Former Jewish Ghetto in Kraków, (facilitated by the Jewish Culture Festival and Katarzyna Zimmerer),

Former sites of the Yugoslav Wars (in collaboration with Tim Shaw),

Madrid's busking culture, (facilitated by In-Sonora Madrid 2013),

Swiss soundmarks, (facilitated by ARC artistic residence and Sally de Kunst),

Alfred Nobel's factory complex in Stockholm (as part of Walking Festival of Sound 2021),

Historical artifacts from New York (in collaboration with Museum of Interesting Things in New York),

Söderström, the shortest river in Sweden (facilitated by Riversssounds),

And many other places.

In 2017 he completed his PhD in Media and Communications from the School of Arts and Communication at Malmö University where he was a member of Living Archives, a research project funded by the Swedish Research Council.

Between 2020-2023 Smolicki pursued an international postdoctoral research funded by the Swedish Research Council. Located at Linköping University in Sweden, Simon Fraser University in Vancouver, Canada, and Harvard, USA, his research explored the history and prospects of field recording and soundwalking practices from the perspective of arts, environmental humanities, and philosophy of technology. His edited book 'Soundwalking. Through Time, Space, and Technologies' was published by Routledge in 2023.

In 2022/2023 he was a Fulbright Visiting Scholar at Harvard.

He is currently a researcher at the Informatics and Media Hub for Digital Existence at Uppsala University and a member of BioMe, a research project that investigates ethical implications of AI technologies on everyday life realms. Smolicki explores sonic capture cultures and the impact of AI technologies on human and other-than-human voices.

He is a co-founder of Walking Festival of Sound, a transdisciplinary and nomadic event exploring the critical and reflective role of walking through and listening to our everyday surroundings.

Since 2008 Smolicki has been working on On-Going Project, a systematic experimentation with various recording techniques and technologies leading to a multifaceted para-archive of contemporary everyday life, culture, and environment. The On-Going Project includes Minuting, a record of public soundscapes performed daily ever since July 2010, for which he received the main prize at the Society for Artistic Research conference in 2022.

I’ve been fascinated about the natural world for as long as I can remember. Growing older, that fascination developed into a formal commitment towards the advocacy and protection of our wild spaces.

I consider myself a conservationist, communicator, and natural sounds recordist. My graduate degrees in ecology and evolutionary biology formally shaped my understanding of the intimate workings of nature. As a professional, I’ve since looked to explore the inherent beauty of nature, as well as our impact and reliance upon it.

Using high-quality nature recordings and evocative storytelling, I work to provide opportunities for everyone to develop their own personal relationship with the outdoors. Additionally, I seek to better understand our natural heritage and reliance on healthy, natural systems, specifically seeking to engage overlooked and underrepresented groups. Ultimately, I aim to help as many people as possible responsibly connect to our wild places, so we may develop sustainable lifestyles which allow future generations to explore, enjoy, and exist alongside our wild lands.

The work of Jacob Kirkegaard explores ways to reflect on complex, unnoticed or unapproachable conditions and environments. His works have treated themes such as radioactivity in Chernobyl, melting ice in the Arctic, border walls in global and metaphorical contexts, immersive acoustic explorations into global waste management, and processes related to when a human being dies. Using his recordings of firearms, grenades and tanks his recent work explores the sound of warfare orchestrated for the Royal Lifeguard's Music Corps.

Another recent work unfolds the mechanical elements of agriculture and food production. Since 2006 Kirkegaard has also been extensively researching, recording and creating works using otoacoustic emissions; tones generated from the actual human ear.

The core element and method of Jacob Kirkegaard's work derive from the use of sound recordings of the tangible aspects from its intangible themes.

Jane Richens – arts + community engagement

Jane Richens is a multidisciplinary visual artist, biodiversity farmer and active community member living on Gringai country in Dungog in regional NSW. Since the 1980s she has been working across textiles, sculpture, video, performance, wearable art, photography, print making and creating events that merge science and art. Being a biodiversity farmer is another passion and weaves through her work. Along with her partner Brian Doherty, they are custodians of an Endangered Ecological Community Tabbil Forest (680acre property with a large dry rainforest) and is using art and science to explore human relationships to such environments.

Canadian artists Janet Cardiff and George Bures Miller live and work in British Columbia. The artists are internationally recognized for their immersive multimedia sound installations and their audio/video walks.

They have recently shown at the Museum of Contemporary Art in Monterrey, Mexico (2019); Oude Kerk, Amsterdam (2018); 21st Century Museum, Kanazawa, Japan (2017); Fondation Louis Vuitton, Paris (2017); ARoS Aarhus Art Museum, Denmark (2015); Museo Nacional Centro de Arte Reina Sofía, Madrid (2015); Menil Collection, Houston (2015); 19th Biennale of Sydney (2014); the Cloisters, Metropolitan Museum of Art, New York (2013); and Documenta 13, Kassel (2012). In 2011 they received Germany’s Käthe Kollwitz Prize, and in 2001, represented Canada at the 49th Venice Biennale, for which they received the Premio Speciale and the Benesse Prize.

I am a sound artist and audio designer. I create auditive environments for spaces and exhibitions, film, immersive media and interactive applications.

I am a professional audio editor with over twenty years of experience in media production. My university training was as a cinematographer; I was of the last generation of film school students to train almost wholly on celluloid and magnetic tape stock. However, I’ve since acted in a variety of roles in the not-for-profit world producing promotional and documentary video, writing curriculum and leading international cross-cultural immersion teams. Somewhere in there I also did post-graduate work in Human Ecology (the study of people in their natural or built environments). I’ve spent the last decade working for one of the largest teacher unions in Australia as their in-house media producer. I built and operated the union’s in-house sound studio, produced hundreds of hours of podcasts and managed the tech for large-scale live broadcasts to tens of thousands of members.

I’m now returning to my film roots to focus on dialogue editing for motion picture and television. Dialogue in film is the primary means of communicating the narrative of a story; however, it’s often overlooked in the process of production. I help shape the sonic experience of the listener to clearly communicate the message and emotional bearing of the story.

Jesse Budel is a composer-performer and sound artist based in Adelaide, South Australia. He completed a PhD at Elder Conservatorium of Music, The University of Adelaide (with an Australian Postgraduate Award), focussing on adapting soundscape ecology frameworks and methodologies to creative process, applied in the production of works responding to engagement with specific sites, and related ecosystems and soundscapes. In 2024, Jesse received an Arts South Australia Fellowship, for higher-order ambisonics research and creative practice.

Currently, he is a Research Associate at The University of Adelaide, and also serves as the President for the Australian Forum for Acoustic Ecology, and Secretary for the Australian Forum for Acoustic Ecology.

Focusing on sound as both material and subject, my work uses a variety of formats to explore place, sounds outside of our attention and our response to located elements and experience. Threads and traces coexist, mapping passion, self trust, community and sensory, intuitive response.

Listening as a continual question

Clearing the dust of bias and perceptions of place

Alongside performances and exhibitions I give talks and run workshops on located sound as an art form and have developed a range of specialist microphones and techniques now widely used across all areas of sound culture.

I work extensively on recording / traces of objects (performative, rural and urban), spaces and situations, texts and photographic scores.

For the past 50 years, Jim Metzner has recorded soundscapes all over the world, producing thousands of radio series and special projects. His sound archive now resides in the Library of Congress and will be available free to all US citizens for non-commercial use. Although he is no longer seeking new projects, Jim invites you to peruse this website for an overview of his audio portfolio.

Over the years, he’s worked with many clients, including the Museum of Natural History, National Geographic and NASA. Each project had its own set of challenges, rewards and stories!

I’m a Montreal-based composer, sound artist and designer who routinely incorporates drawings and painting into my work. I completed an undergrad in Electroacoustic Studies at Concordia University, and a Master of Fine Arts in Interdisciplinary Studies at Simon Fraser University. I am the recipient of the R. Murray Soundscape Award and have also received a Canada Graduate Scholarship and Michael Smith award for my research in sound studies.

Operating at the intersection of acoustics, audiology, urban design, sound art, soundscape studies, and experimental music, Drever’s practice represents an ongoing inquiry into the perception, design and practice of everyday environmental sound. He has a special interest in soundscape methods, in particular field recording and soundwalking. Resulting from the findings of his study on the noise impact of high-speed hand dryers, Drever has been developing the concept of auraldiversity, attempting to reconceptualize hearing in sound practice that diverges from a paradigm predicated on a singular, idealized, symmetrical model of hearing (i.e. the auraltypical) that has predominated.

Drever is Professor of Acoustic Ecology and Sound Art at Goldsmiths, University of London, where he co-leads the Unit for Sound Practice Research (SPR).

In 1998 he co-founded and chaired the UK and Ireland Soundscape Community (a regional affiliate of the World Forum for Acoustic Ecology) for whom he chaired Sound Practice: the 1st UKISC Conference on sound, culture and environments in 2001 at Dartington College of Arts.

Drever is an avid collaborator and has devised work in many different configurations and contexts. Commissions range from the Groupe de Recherches Musicales, France (1999), WDR Studio Akustische Kunst, Germany (2011), Shiga National Museum, Japan (2012). As a core member of arts collective Blind Ditch, he is currently working on the Common Line project (thecommonline.uk/), Britain’s first linear forest.

Jono Gilmurray is the Course Leader of Music Production at BIMM Music Institute Bristol. He is a sound artist, writer and researcher. Jono’s background is in post-production sound for TV, with Soho post-production house Envy. Recently his work has focused on field recording, soundscape composition and ecological sound art, which forms the subject of his PhD research at Creative Research into Sound Arts Practice, University of the Arts London.

Jono wrote the introductory chapter to the book Environmental Sound Artists: In Their Own Words, published in 2016 by Oxford University Press. He has had academic papers published in Musicological Annual and Organised Sound journals, presented at numerous international conferences, and produced a radio programme on ecological sound art for London arts station Resonance FM.

In 2015 Jono had an artistic residency with the Biosphere Soundscapes project at the Sian Ka’an UNESCO Biosphere Reserve in Quintana Roo, Mexico. His compositional work has been featured on Mongrel’s Antarctic Data Jam album and in Ear to the Earth’s ‘100 x John’ project marking the centenary of the birth of John Cage. Jono has also had his work installed in galleries around Europe as part of the European Acoustic Heritage touring sound art exhibition.

In addition to his sonic pursuits, Jono has also spent nearly 20 years lecturering children and young adults with autism, helping them to develop their creative, academic, communication and social skills.

Jordan Lacey is an artistic researcher and creative practitioner who works with sound in music, public/gallery installation, performance, philosophy, theory and pedagogical contexts. He works across multiple platforms including Universities, private Industry and government agencies, and the Avant-garde and Independent music industry, both in Australia and across Europe and South-East Asia.

Juan C. Duarte Regino is a Mexican artist-researcher and current Ph.D. candidate at Aalto University. His research revolves around the exploration of the symbiotic relationship between nature and technology through environmental sound. Duarte Regino creates unique artifacts that resonate with planetary energies and ancient cosmo-visions, shedding light on this intricate connection.In his innovative approach, he employs diversified technologies to develop methods for augmented listening. By doing so, Duarte Regino pushes the boundaries of artistic expression and enables a deeper understanding of our environment and its intricate interplay with technology.His artistic endeavors have gained recognition and have been showcased at prestigious events and venues such as the CTM Festival, Spiral Gallery, Pixelache Festival, Hai Art, IAMAS, RIXC, Media Art Histories, Ujazdowski CCA, ISEA, Goethe Institut Beijing, ETH Zurich, and Medialab Matadero. Through these presentations, Duarte Regino continues to captivate audiences and provoke thoughtful discussions about the intersection of art, nature, and technology.

I was born on Whadjuk Noongar boodja just east of Boorloo / Perth, Western Australia, and am now based in Kulin Nations, near Narrm / Melbourne, Victoria. I am of settler-coloniser descent, mostly European as far as I can find - Irish, English, Jewish (Poland), Anglo-Burmese. I am grateful for my life and to call this place my home, and I offer my heartfelt thanks and respect to First Nations Bunurong and Wurundjeri people here along with all their Ancestors and kin.
I am a non-binary artist, performer, musician, poet, herbalist, and ritualist, among plenty of other named and unnamed things.

With materials including stone, eggshells, plants, voice, sound, film and performance, I create gestures of intimacy, subtly posing questions of being and emptiness through iterative & process-based making. I carve, collect, listen, and produce sound works, arranging these elements together as remnants and offerings.
Grounded in a deep-rooted vocal and sound practice, inspired by experimental archaeology and folk healing, I self-excavate and research, sensing affinities in my own experiences and customs of ritual, grieving, transformation and renewal.
My practice includes producing and nurturing artists, arts festivals and events, as well as curation and workshop facilitation.

Dr. Jérôme Sueur is an ecoacoustic researcher and associate professor at the Muséum National d’Histoire Naturelle in Paris, France. During the Sonic Landscape Symposium he will discuss how natural soundscapes are evolutionarily linked to behavioural and ecological processes. Taking place on Friday 3 April, the Sonic Landscape Symposium is a one day academic symposium will examining the interrelationships between sound, society and the natural world, with a focus on archiving, happening on Friday 3 April during Rewire 2020. It has been co-developed with The Netherlands Institute for Sound and Vision’s RE:VIVE initiative, with support from ArtEz and Beeld en Geluid Den Haag.

We collect and interpret sounds in nature by developing, applying, and sharing innovative conservation technologies across relevant scales to inform and advance the conservation of wildlife and habitats.

Composer and Researcher. Associate Professor of Electroacoustic Music Composition- Department of Music Technology and Acoustics of the Hellenic Mediterranean Univeristy.

Born in Rethymno- Crete (1964). Studied (1984-93) in Athens, music, electroacoustic music and computer music with I. Ioannides, Stefanos Vasilleiades, Dimitris Kamarotos and Thanassis Rikakis. From 1993-2000 worked as coordinator of the Computer Music Lab of the Program of Psychoacoustics of the Aristotle University of Thessaloniki (IPSA). She holds an MA degree in music composition (electroacoustic) from City University (2002) and in May 2012 she completed her PhD studies in electroacoustic music composition at De Montfort University with Simon Emmerson. She is interested in soundscape research and composition, electroacoustic music composition, acoustic ecology, sound studies, interactive music systems, electronic musical instrumants and soundwalking practice. Her music has been performed in various festivals and conferences, nationally and internationally. She is a founding member of HELMCA (www.essim.gr) and of the Hellenic Society for Acoustic Ecology (www.akouse.gr).

Συνθέτρια και ερευνήτρια. Αναπληρώτρια Καθηγήτρια στην Ηλεκτροακουστική Μουσική Σύνθεση στο Τμήμα Μουσικής Τεχνολογίας και Ακουστικής του Ελληνικού Μεσογειακού Πανεπιστημίου.

Σπούδασε στην Αθήνα (1984-1993) θεωρητικά της μουσικής με τον Γιάννη Ιωαννίδη και τεχνικές της ηλεκτροακουστικής μουσικής και μουσική πληροφορική σύνθεση με τους Στέφανο Βασιλειάδη, Δημήτρη Καμαρωτό και Θανάση Ρικάκη. Παρακολούθησε το διετές σεμινάριο «Χρόαι» που οργάνωσε το Κέντρο Σύγχρονης Μουσικής Έρευνας (Κ.ΣΥ.Μ.Ε.). Πολλές από τις συνθέσεις της ηλεκτροακουστικής μουσικής αυτής της περιόδου πραγματοποιήθηκαν στο Κ.ΣΥ.Μ.Ε. Το 1993 ανέλαβε τον συντονισμό του Εργαστηρίου Μουσικής Πληροφορικής του Προγράμματος Ψυχοακουστικής του Α.Π.Θ, μέχρι το 2000 και συμμετείχε σε διάφορες ερευνητικές ομάδες με αντικείμενα σχετικά με την μουσική αντίληψη και τα ηχοκινητικά διαδραστικά περιβάλλοντα ενώ παράλληλα δίδαξε στα ετήσια σεμινάρια μουσικής πληροφορικής σύνθεσης που οργάνωσε το Πρόγραμμα Ψυχοακουστικής. Το 1995 επισκέφτηκε τις Ηνωμένες Πολιτείες της Αμερικής για δύο μήνες με υποτροφία του Προγράμματος Ελληνικών Σπουδών του Princeton University, για την πραγματοποίηση της έρευνας με αντικείμενο “Physical Modeling of Ancient Elgin Auloi”, σε συνεργασία με τον καθηγητή Perry Cook (Princeton University). Ολοκήρωσε τις μεταπτυχιακές της σπουδές (MA) στη Σύνθεση Ηλεκτροακουστικής Μουσικής στο City University στο Λονδίνο το 2002, και τον Μάιο του 2012 υποστήριξε επιτυχώς την διδακτορική της διατριβή στην σύνθεση ηλεκτροακουστικής μουσικής στο De Montfort University με καθηγητή τον Simon Emmerson. Από το 2003 έως το 2019 δίδαξε στο Τμήμα Μηχανικών Μουσικής Τεχνολογίας και Ακουστικής του ΤΕΙ Κρήτης.

Έχει γράψει μουσική κυρίως αλλά όχι και αποκλειστικά για ηλεκτροακουστικά μέσα. Η μουσική της έχει παρουσιαστεί σε πολλά Ελληνικά και διεθνή φεστιβάλ και συνέδρια. Είναι ιδρυτικό μέλος του Ελληνικού Συνδέσμου Συνθετών Ηλεκτροακουστικής Μουσικής και της Ελληνικής Εταιρείας Ακουστικής Οικολογίας.

Katharine Norman‘s music and sound art for instruments and digital resources is frequently inspired by people’s experience of place and landscape. She has also written and published extensively on soundscape and place, as well as producing experimental digital fiction and non-fiction.

Her more recent performance works explore interactive image, text and sound. They include Making Place, commissioned by pianist Kate Halsall, A walk I do, for Carla Rees; and Paul’s Walk, for Paul Roe. Other works are for sound, performance and feature her speaking her own texts. For instance, Fuga Interna (begin), for piano and digital sound is based on her memories of learning piano and her mother’s Alzheimer’s disease. It has been performed widely, in particular by Xenia Pestova.

Her publications on sound and art are often literary or experimental in nature and include Sounding Art, an experimental book on digital music and aesthetics (Ashgate/Routledge) and a number of book chapters and essays in various collections. As a creative writer, her digital fiction and non-fiction have featured in various festivals, publications and conferences. Window (for John Cage), an interactive ‘sound-essay’, won the 2012 New Media Writing Prize.

Katharine Norman received her PhD in composition from Princeton, focusing on computer music. For some time she worked in academia, where she directed the Electronic Music Studios at Goldsmiths College, London and later headed the studios at City University London, before deciding to find other strategies for continuing as a composer and writer (i.e. she got the hell out of there). For the past 10 years or so she has worked primarily in academic and reference publishing, to support her creative work. In 2020 she moved to live on an island off the West Coast of BC, Canada. Nobody has found her yet.

KATHY KENNEDY is a sound artist with formal training in visual art as well as classical singing. Her art practice generally involves the voice and issues of interface with technology, often using telephony or radio transmission. Her work engages with public space and physical space through voice. She is also involved in community art, and is a founder of the feminist digital media center in, Studio XX (now Ada-X), as well as the innovative choral group for women, Choeur Maha. Her large-scale sonic installation/performances for many singers and radio, called “sonic choreographies,” as well as the HMMM series have been performed internationally. Ms. Kennedy currently teaches music at Concordia University in Montreal.

She frequently gives lectures and workshops on listening skills, acoustic ecology and vocal improvisation. Her solo performances include a high level of improvisation over lush soundtracks of painstakingly mixed vocals and other sounds to create an immersive world of different voices.

Keiko Torigoe is a musicologist and soundscape researcher and a professor at the University of the Sacred Heart, in Tokyo. She has also participated various projects in the fields of environmental design and environmental education, including the Garden of Rentaroh Taki Memorial House and Preserving 100 Soundscapes of Japan. She co-translated R. Murray Schafer's The Tuning of the World in 1987, and his Sound Education in 1992 and wrote her own book in Japanese, Soundscape: the thought and practices.

Keira J. Simmons (she/they) is an emerging South Australian sound artist and sound designer based on unceded Kaurna Land. She creates projects that explore bodily engagement with place and sound, through speculative soundwalking and through performing meditative ambient sets.

As a freelance sound designer, she works with local and global artists on creative projects focusing on queerness, ecology, neurodivergence and embodied theatrical experiences.

She is also passionate about creating and supporting opportunities for marginalised and underrepresented voices, both literally (as an audio technician) and systemically (with Creative Original Music Adelaide).

Hi, I'm Kervin Thomas—a multimedia storyteller, podcast producer, and content creator with roots in the beautiful island of Grenada. From a young age, I was captivated by the power of storytelling, which led me into the world of podcasting, film, and digital media.

I discovered my passion for producing content at just fifteen years old. Since then, I’ve been dedicated to exploring the endless possibilities of audio and visual storytelling, using creativity and technology to connect with audiences around the globe.

Today, I create everything from podcasts and nature videos to short films and animations. Over the past five years, I've provided custom multimedia services for nonprofits, small businesses, and organizations looking to tell their story in a meaningful way.

What drives my work is authenticity, empathy, and a deep curiosity about the human experience. I’ve had the privilege of meeting incredible people from all walks of life—each encounter fueling my passion for producing content that’s not only engaging but deeply resonant.

When I'm not behind the mic or camera, you'll find me exploring the outdoors, trying out new recipes, or geeking out over the latest creative tech. I believe that great storytelling starts with genuine connection—and I'm excited to collaborate and create something truly remarkable with you.

Kim V. Goldsmith is a multimedia artist, writer and creative producer who grew up on a farm on Wayilwan Country in central North-West NSW. She is now based on Wiradjuri Country, just outside Dubbo on the Western Plains of New South Wales. Her interdisciplinary creative practice has encompassed community engagement, sound, video, installation, story-gathering, writing and public programming that takes a creative, process-driven approach to the challenging environmental issues faced by rural, regional and remote communities. Kim’s work in this area continues to evolve as she explores layers of nuance and complexity within the territories in which she works, seeking the hidden elements that make them vibrate.

Through research, observation, field recordings, collaboration, and creativity, she aims to present rural, regional and remote landscapes and communities (human and more-than-human) in ways that make the familiar, unfamiliar. Goldsmith uses verbal and non-verbal storytelling to tease out narratives of connection and give a voice to the voiceless. Her background in agriculture, natural resource management, journalism, and decades of professional storytelling across rural and regional Australia feeds into her creative practice of 20+ years. Kim’s individual and collaborative works are presented across Australia and internationally in festivals, exhibitions, public events, and online platforms. She is the founder and lead artist of ecoPULSE.art.

Joseph Kamaru aka KMRU questions the colonial archive upon which European/Occidental thinking, schooling, and listening rely. Kamaru’s project, Temporary Stored, liberates the sonic beings of ancestors.

In his research, he situates listening practices, and in turn, the production of sound, as having the potential to revitalize subjectivities, against the objectification and racialization enacted by sonic colonialities. Kamaru’s liberation of sounds from the colonial archive includes first, accessing them, which is no small feat given their institutional enclosure; then, a close listening to them; and finally, re-mixing them with field recordings and synthesizers. This re-encantation honors his, and our collective, ancestralities.

The aim of La Semaine du Son is to introduce the public, elected representatives and all those involved in society to a better understanding of sound and the importance of the quality of the sound environment, to a better understanding of sound and the importance of the quality of the sound environment, which must not only be preserved , but in many cases restored.

UFRN LaB provides opportunity for undergraduate and graduate students, research fellows and colleagues to collaborate in “Sound Science for Nature”

I'm Lauren: a sonic researcher, sound media producer, and PhD Candidate in the Faculty of Information at the University of Toronto. My current research interests include: acoustic ecology, decolonial / anticolonial media studies, and sensorial ethnography. See my recent academic publications below.

As an artist, I work across and between various mediums, most often utilizing sound as a tool to engage in environmental, political, and social discourse.​​

Lawrence English is an artist, composer and curator based in Australia. Working across an array of aesthetic investigations, English’s work explores the politics of perception and prompts questions of field, agency and memory. English utilises a variety of approaches including visceral live performance and site-specific installation to create work that invites audiences to consider their relationship to listening, place and embodiment. Over the past decade he has worked with sound as a medium for embodied experience and is determined to share his interests in the transformative and sensorial transgressive possibilities of sound. He is a Sidney Myer Creative fellow, was awarded an outstanding doctorial thesis award in conjunction with his PhD in 2017 and has been supported by the Mike Kelley Foundation for his public artwork project in Los Angeles, Seirá. In 2022, he has been appointed the Annual Honouree by the Institute Of Modern Art.

Associate Professor Lawrence Harvey is a composer, sound designer, researcher and teacher based in the School of Design at RMIT University, Melbourne. He is founding director of SIAL Sound Studios, a facility established in 2004 and dedicated to research, teaching, and spatial sound in design and music.

His recent collaborations have included The Planting – a futuring work by leading indigenous thinkers and speaker orchestra concerts for the Canadian Electroacoustic Community (CEC) and the Design and Sonic Practice (DSP) Research Group at RMIT, and Site and Sound an exhibition and performance program for Mclelland Sculpture Park and Gallery.

He has supervised 20 PhD and Masters completions by candidates researching in spatial sound performance, computer music, technology for sound, architecture, digital modelling, soundscape studies and acoustic ecology, sound installation and acoustics. His peer reviewed publications cover a similar range of topics, and pedagogical approaches to sound in design, speaker orchestra practice, and curating and collecting sonic art.

After establishing the RMIT Speaker Orchestra in the early 2000’s, he has curated, directed and performed 34 concerts on the system. The 32 loudspeaker system can be used for traditional two channel diffusion and a range of multichannel formats. He co-leads the Design and Sonic Practice (DSP) Research Group, and collaborated on founding the RMIT Sonic Arts Collection.

He has directed large research projects funded by the Australian Research Council, and industry funded projects in urban soundscape research and spatial sound performance. In addition to electroacoustic compositions, he has produced gallery and urban sound installations, spatial sound designs for VR and theatre, and performed in Melbourne, Seoul, Huddersfield, The Hague and Vienna

Dr Leah Barclay is an Australian sound artist, designer, and researcher who works at the intersection of art, science, and technology. Leah’s research and creative work investigates new methods in ecoacoustics, exploring the soundscapes of terrestrial and aquatic ecosystems to inform conservation, scientific research, and public engagement. She is a specialist in underwater recording and has over 15 years of experience recording marine and freshwater ecosystems across the planet. Her work explores ways we can use creativity, new technologies and emerging science to reconnect communities to the environment and inspire climate action. Leah is the Discipline Lead of Design at the University of the Sunshine Coast, where she is also co-leading the Creative Ecologies Research Cluster.

Linda O'Keeffe is a sound artist based in New York. She holds a professorship in art at Stony Brook University, New York. A passionate advocate for the role of women in the sonic arts, she founded the Women in Sound Women on Sound (WISWOS) organisation. Additionally, she served as the Editor-in-Chief of the Interference Journal, a publication dedicated to audio cultures, from 2012 to 2022. In 2009, she co-founded the Irish Sound Science and Technology Association, leading as its President from 2015 to 2017.

Her professional focus lies at the crossroads of art, science, technology, and community. This interest has led to the creation of numerous artworks, published research papers, and keynote presentations. As a member of the artist collective, Non Random, she aims to emphasize the union of arts and science to foster dialogues around research and art practices. Non Random is currently engaged in "Evolving Ourselves with Unnatural Selection", a project funded by Creative Scotland. This collaboration between artists and researchers aims to investigate and illustrate the ethical implications and future prospects of gene editing through a digital multi-arts approach. More about these collaborative works can be found at non-random.co.uk.

In 2017, she was commissioned to create the artwork "Hybrid Soundscapes I-IV" for the "Sounds Like Her" touring exhibition. The work explored the impact of renewable energy technologies on natural soundscapes, landscapes, and rural communities. This piece was showcased in major UK art galleries from 2017 to 2020 and featured in publications discussing the role of women in sound.

In 2018, the Arts Council of England recognized her with the international travel award, enabling her to develop collaborative research with women across Brazil. This tour was marked by lectures, performances, workshops, and outreach activities. She released two collaborative albums, and in 2022, co-authored "The Body in Sound, Music, and Performance" with Isabel Nogueira.

Her more recent contributions include a commission for the Huddersfield Holocaust museum in September 2022, a residency at the Ceramic House in Brighton in April/May 2022, and a 2016 commission for the Ormston Gallery as part of the EV&A festival in Ireland. Dr. O'Keeffe's works primarily emphasize sound, spanning installations, performances, and soundscape studies. She has also crafted pieces for radio, dance, and public installations.

Lindsey french (she/they) is an artist, educator and writer whose work engages in multi-sensory signaling within ecological and technological systems. She has shared her work nationally in museums, galleries, screenings, and diy art spaces including the Museum of Contemporary Art (Chicago) and the International Museum of Surgical Science (Chicago), Pratt Manhattan Gallery (New York), the Miller Gallery for Contemporary Art (Pittsburgh), and Lease Agreement (Lubbock). Recent publications include chapters for Olfactory Art and The Political in an Age of Resistance (Routledge), Why Look at Plants (Brill), and poetry for the journal Forty-Five.
They earned a BA through an interdisciplinary course of study - Environment, Interaction, and Design - at Hampshire College, and an MFA in Art and Technology Studies at the School of the Art Institute of Chicago. Newly based in the prairie landscape of Treaty 4 Territory in Regina, Saskatchewan, french teaches as an Assistant Professor in Creative Technologies in the Faculty of Media, Art, and Performance at the University of Regina.

Lisa Gasior has been hearing since birth but started listening in September of 2000. She received her B.A. in Communications and Journalism with a minor in Electroacoustic Studies at Concordia University, and is currently pursuing her M.A. in Media Studies at Concordia. Lisa’s thesis project, Sounding Griffintown (funded by the Social Sciences and Humanities Research Council of Canada), is taking her back in time as she researches the history and soundscapes of this Montreal neighbourhood.

Lisa is a research assistant for Dr. Andra McCartney, having worked on Dr. McCartney’s soundscape project, Journées sonores: Canal de Lachine, as well as the In and Out of the Sound Studio research project and conference. Lisa is also part of Dr. Matt Soar’s Logocities project (www.logocities.org). Lisa has been teacher’s assistant in both beginner and advanced sound production courses at Concordia and, in her spare time, she composes short electroacoustic pieces and works on sound for film, in such capacities as location recordist, editor, Foley artist and, most recently, sound mixer. Lisa hopes to introduce others to the joys of listening and find beautiful soundscapes wherever she goes.

Lisa Schonberg is a composer, percussionist, and ecological sound artist. Informed by her background in ecology, Schonberg composes music with a focus on cryptic sounds of insects and other underappreciated beyond-humans. She documents soundscapes, insects, and habitat through music composition, writing, and multimedia collaboration, engaging the public in listening to prompt heightened consideration of these soundworlds. Currently she is developing music composition systems that interact with insect sound in real time. Her recent work includes research on ant bioacoustics with entomologists in the Brazilian Amazon, cryptic sound studies with landscape architects in Oregon, detection of cellular frequencies in ant habitats in NY, and music composition concerning Pacific Northwest old-growth forests, Hawaiian endangered bees, fungi, and plastics. Schonberg's compositions are performed by Secret Drum Band, UAU, Antenna, & solo.

Schonberg earned her Masters in Environmental Studies at the Evergreen State College with a focus on ant biodiversity in the Neotropics, and is currently a PhD candidate in Electronic Arts at Rensselaer Polytechnic Institute in Troy, NY. She is the author of The DIY Guide to Drums, Text Scores for Getting to Know the Invertebrates, and The Hylaeus Project: A Documentation of the Endangered Native Bees of Hawaii. She was a regular contributor to Tom Tom Magazine and She Shreds magazine. Her past bands include Explode into Colors, STLS and Kickball, and she has performed with Dubais, Thao With The Get Down Stay Down, Erase Errata, The Need, Taka Yamamoto, Mirah, Tara Jane Oneil, Tuneyards, Cloud Eye Control, Peter Broderick/Gabriel Saloman, and others. Schonberg has received support from the New York State Council for the Arts, the Regional Arts and Culture Council, The Sanctuary for Independent Media, Wave Farm, Arc’teryx, the Oregon Arts Commission, The Oregon Community Foundation, Calligram, and The Andy Warhol Foundation For The Visual Arts. She has been an artist in resident at Pioneerworks, Wave Farm, the Banff Centre, Labverde, HJ Andrews Experimental Forest, Shotpouch Cabin, Dinacon/Digital Naturalism Labs (Panama), A-Z West (Joshua Tree, CA), and Signal Fire. She has performed at the Adolfo Ducke Reserve (BR), The American Museum of Natural History, the Brooklyn Museum, the Pompidou, High Desert Test Sites, the Time-Based Arts Festival (Portland), and has presented lectures in the US, Europe and Brazil.

It's easy to forget nature in our busy, urban lives.

Listening Earth offers a range of natural soundscapes, transporting you to wild places and reminding you of nature's more gentle pace of life.

In nearly twenty years of recording in remote locations, we've been fascinated by the diverse, wondrous and delicate sounds of our natural world.

Whether you use our sounds for relaxation, personal meditation, to assist sleep, or find delight in the wild 'music' of nature, we hope you enjoy listening as we have.

Forests alive with birdsong, waves roaring in on an ocean beach, waterfalls or the flowing of water through evergreen rainforest...

Which album will become your favourite?

Locus Sonus Stream Project is a network of open microphones that stream the captured audio environment live from locations spread around the globe to our server. We provide the technology and support for this project and the microphones are maintained by a network of sound artists and musicians (or simply people who are interested in the project) that we call “streamers”. Over the last ten years this project has developed from a single remote microphone, to become a worldwide pooled resource used by numerous artists and enjoyed by countless listeners. We have developed different systems to allow streamers to set up a microphone: a dedicated system for the economical Raspberry Pi mini computer; apps for iOS and Android; Pd patches and standalone applications for PCs. All these systems are configured to connect directly to our streaming server. The streams can be accessed through different interfaces that are permanently available online, the most popular one being Locus Sonus Sound Map. The sound map visualizes the live microphones that are open worldwide. The user can navigate to the desired sound source and listen to the live sound via their browser. Features include: written descriptions and pictures of the site where the sound is captured, the possibility to track mobile microphones in real-time via GPS and an automatic mode which randomly switches between microphones at a given interval.

Luz María Sánchez is a transdisciplinary artist, writer, and scholar. She holds a Doctorate in Art from the Universitat Autónoma de Barcelona. Her artistic research extends to sound and language as a techno-scientific machine and builds upon environmental and political urgency. Sánchez received two consecutive Prix Ars Electronica’s Honorary Mentions (2020 & 2021) for her projects Vis.[un]necessary force #3 and #4. In 2015 she was granted the Climate Change Artist Commission by the Land Heritage Institute (Texas) and in 2014 she received the First Prize Award for the inaugural Biennial de las Fronteras (Mexico).

n 2025 Sánchez participates At Momentum Biennial (Norway) at was selected at Bienal Sur (Argentina). With a professional career of 27+ years, Sánchez has exhibited throughout Europe and the Americas, most recently at recently at Galleri F15, Moss (2025); Arsenal Galeria Miejska, Poznań (2024); Trondheim Elektroniske Kunstsenter | TEKS.studio, Trondheim (2024); Haus Kunst Mitte, Berlin (2023); Opalka Gallery, Albany NY (2023); Circuits and Currents, Athens (2023); Vincent Price Art Museum VPAM, Los Angeles (2022); Ars Electronica, Linz (2021, 2020); MUAC, Mexico City (2019); WRO Art Center, Wroclaw (2019); CCCB/Hangar, Barcelona (2019); Museum of Modern Art, Mexico City (2018); and ZKM | Center for Art and Media, Karlsruhe (2017).

Sánchez has authored five books, curated exhibitions and transdisciplinary conferences and presented by invitation at leading institutions such as the London Beckett Seminar (2025); Casa Encendida, Madrid (2024); University of the Arts London UAL (2024, 2020), the University Montpellier 3 (2023), Freie Universität Berlin (2022), School of the Art Institute Chicago SAIC (2021), and ZKM | Center for Art and Media, Karlsruhe (2017).

Sound artist. Since 2008 he develops an ongoing project in collecting the immaterial sound heritage of several areas of Portugal, through field recordings that can be found at luisantero.yolasite.com and luisantero.bandcamp.com.

Professor of musicology at the University Paris 8 and director of the research team MUSIDANSE. He has published many books and articles about new music. His main fields of research are the focus on sound, the notion of musical space, new musical technics and technologies, the mutations of listening… He is also one of the main international Xenakis’ specialists, to whom he devoted many publications and symposiums. He is co-founder of the review Filigrane. Musique, esthétique, sciences, société. His last book deals with an important mutation of today’s music: From Music to Sound. The Emergence of Sound in 20th- and 21st-Century Music (Routledge, 2019). His recent researches focus on sound ecology and on performing Xenakis’ music (both instrumental and electroacoustic). His new book Exploring the Ecologies of Music and Sound. The Living, the Mental and the Social in today’s Music, Sound Art and Artivisms (working title) will be published by Routledge. He is co-organizing the Xenakis 22: Centenary International Symposium.

Marcel Cobussen wanted to become a professional soccer player. He did not succeed. Too bad. Now he is an (amateur) sound artist, a (retired) musician and a (moderate) philosopher. He studied jazz piano at the Conservatory of Rotterdam, and Art and Cultural Studies at Erasmus University Rotterdam (the Netherlands). He teaches Sound Studies/Art, Music Philosophy, and Artistic Research at Leiden University (the Netherlands). Together with others he is running the one and only Sound Studies Center at Leiden University.

Cobussen thinks around sound and music. Results: several books, articles, book contributions (see publications), advisory reports, and an online dissertation Deconstruction in Music.

At home, he plays mostly field recordings, free improvised music, and experimental (Japanese) electronic music. Otherwise, he enjoys fitness, traveling, listening, and sleeping. He lives with wife Ida and daughters Eva and Sarah, but loves rabbits, penguins, wombats, and camels as well.
So far, he is quite satisfied with his life.

Marcia Jenneth Epstein gives readers the impetus and the tools to understand the sounds and noise that define their daily lives in this groundbreaking interdisciplinary study of how auditory stimuli impact both individuals and communities.

Epstein employs scientific and sociological perspectives to examine noise in multiple contexts: as a threat to health and peace of mind, as a motivator for social cohesion, as a potent form of communication and expression of power. She draws on a massive base of specialist literature from fields as diverse as nursing and neuroscience, sociology and sound studies, acoustic ecology and urban planning, engineering, anthropology, and musicology, among others, synthesizing and explaining these findings to evaluate the ubiquitous effects of sound in everyday life. Epstein investigates speech and music as well as noise and explores their physical and cultural dimensions. Ultimately she argues for an engaged public dialogue on sound, built on a shared foundation of critical listening, and provides the understanding for all of us to speak and be heard in such a discussion.

Marcus Maeder is an artist, researcher and composer of electronic music. As an author, Maeder has written on a number of topics in the fields of sound art, acoustic ecology, artistic research and digital media.

Maeder studied Fine Arts at the Lucerne University of Applied Sciences HSLU, Philosophy at the Fernuniversität in Hagen and completed his PhD in Environmental Systems Science at ETH Zürich. He runs the music label domizil together with Bernd Schurer. Maeder has worked as an editor and producer for the Swiss radio station SRF and has been working as a researcher and lecturer at the Institute for Computer Music and Sound Technology (ICST) of the Zurich University of the Arts ZHdK from 2005 until 2025. Marcus Maeder is currently heading the ‘Knowledge to Society/KNOTS’ degree program at the University of Applied Sciences Lucerne/Art and Design as a professor. He is guest scientist at the Swiss Federal Institute for Forest, Landscape and Snow Research WSL and is research fellow at Freie Universität Berlin. Maeder is vice president of the Swiss Society for Acoustic Ecology SSAE and a board member of the World Forum for Acoustic Ecology WFAE.

In his research, Maeder is working on bioacoustic and ecoacoustic investigations of areas, communities and organisms under the influence of climate change and other environmental issues. He contextualises his scientific work in the fields of Acoustic and Soundscape Ecology, as well as Artistic Research. Marcus Maeder’s art is located in the field of envrionmental and ecological art.

On an invitation by French President François Hollande, Maeder presented his sound art installation trees: Pinus sylvestris at the 2015 United Nations Climate Change Conference COP21.

In 2017 Maeder presented his installation AmazonFACE: Ocotea at the Inter-American Development Bank in Washington – the same year where he and Roman Zweifel received an honorable mention from the STARTS Prize by the European Commission at the Ars Electronica Festival in Linz/Austria for their works under the moniker treelab.

In 2021, Marcus Maeder presented his Installation Silva (commissioned by the Goethe Institute Tallinn and in cooperation with Roman Zweifel) at the Estonian National Museum; Estonia’s President Alar Karis visited the exhibition and gave the opening speech.

In 2023, Maeder presented his installation Growth model on invitation of the Swiss embassy at the Tokyo Biennal at the University of Creativity in Tokyo. The installation was visited by the state secretary for science and education Martina Hirayama and the president of ETH Michael Hengartner. Growth model and the collective work Forest Voices were shown at the Yoshino Art Festival in 2024; Marcus Maeder performed a live version of the installation at the Swiss-Japanese Economic Forum in Tokyo.

Mark Sciuchetti, Interim Senior Director of Honors and Associate Professor of Geography, holds a PhD in Geography and the MM in Musicology from the Florida State University and the MA in History from Columbus State University. His research interests include sound studies, urban geography, cultural geography, musical descriptions of the landscape and geo-humanities. He has collaborated across many fields, including business, history, musicology, and ethnomusicology. His dissertation research explored soundscapes on the Hudson River, New York, USA and the affectual capacity of sound to create and (re)create place and identity. He recently worked on a sound mapping project, Moravian Soundscapes, which is a sonic history of the Moravian mission communities in North America, specifically in Bethlehem, Pennsylvania. He is also currently involved in an interdisciplinary research projects on sound and movement in space through water. Other research projects include indigenous soundscapes in Alabama and the connection between village life and sacred settings on the Choccolocco Mountains; the use of Business Analytics and Consumer clustering to engage nonprofits in marketing, heritage tourism and indigenous representation in Ohio; historical GIS and mapping of Moravian communities; Political Mapping of United States Elections; Soundscapes of the Grateful Dead, Mapping the Place and Time of Charles Ives' music; and sound reconstruction of the Apalachee and Spanish musical culture of Mission San Luis in Tallahassee, FL; and the soundscapes of Wakulla Springs, FL. He has received grants for his soundscape research from Florida State University, the Society for American Music, the National Park Service and Jacksonville State University.

Martyna Poznańska is an interdisciplinary artist who works with different media across genres. This includes the practice of active listening and field recording in tangent to working with various visual tools such as video, installation, her own body, and drawing, as well as listening workshops and soundwalks. Responding to the climate crises related issues, she has been exploring the symbiotic relations between human and non-human beings, the endless entanglements between us and how to acknowledge their intrinsic character.

Mary Edwards is a composer and sound artist whose interdisciplinary practice encompasses environmental, architectural, and cinematic sound installations. Themes of temporality, impermanence, nostalgia and the natural world recur throughout her work.

She is interested in the invisible architecture and the emotive, historic, and spatial properties of sound that are simultaneously intimate and immense. Listening is an inherent and integral part of her process in conveying how all sounds have the potential to be habitable, and can be transformative once you get inside them.

Included among her recent projects are Everywhere We Are is the Farthest Place, an iterative composition whose origins began on an Arctic expedition above the 78th Parallel in Svalbard (halfway between mainland Norway and the North Pole), where Mary Edwards made field recordings of geological/oceanographic activity —vibroacoustic natural events—iceberg torrents, calving glaciers, whale song and converging subterranean rivers of the meltwater channel—then reimagined as an ode rather than an elegy intended to provide access for all by “de-centralizing the centered and un-othering the others.” The composite soundscape takes us to the outer space that resembles its earthly NASA Terrestrial Analog Site of the Svalbard Arctic desert, and lands us back down to praise our natural surroundings and elemental sensuality— right now— in the face of rapid change.

Mary Edwards is a producer at Campbient, a sonification researcher at the Sonification Network for the Geosciences (where she is the creator of the Organization’s signature earcon). She is a frequent public speaker and has given talks at universities, conferences, festivals and museums internationally.

Matthew Burtner, biography
Matthew Burtner (www.matthewburtner.com) is an Alaskan-born composer, sound artist and eco-acoustician whose work explores embodiment, ecology, polytemporality and noise. His music has been performed in concerts around the world and featured by organizations such as NASA, PBS NewsHour, the American Geophysical Union (AGU), the BBC, the U.S. State Department under President Obama, and National Geographic. He has published three intermedia climate change works including the IDEA Award-winning telematic opera, Auksalaq. In 2020 he received an Emmy Award for “Composing Music with Snow and Glaciers” a feature on his Glacier Music by Alaska Public Media. His music has also received international honors and awards from the Musica Nova (Czech Republic), Bourges (France), Gaudeamus (Netherlands), Darmstadt (Germany), and The Russolo (Italy) international music competitions. He is the recipient of a National Endowment for the Arts Award for The Ceiling Floats Away, a large-scale collaborative work with US Poet Laureate and Pulitzer Prize-winning writer, Rita Dove. Burtner holds the position of Eleanor Shea Professor of Music at the University of Virginia (www.virginia.edu) where he Co-Directs the Coastal Future Conservatory (http://www.coastalconservatory.org). He also is founder and director of the Alaska-based environmental music non-profit organization EcoSono (www.ecosono.org). His new album Icefield is out now on Ravello Records.

Meri Kytö is a lecturer in musicology (musiikkitieteen yliopistonlehtori, in Finnish) at the University of Turku and an associate professor (dosentti, in Finnish) in auditory culture studies at the University of Eastern Finland. Her previous publications have tackled urban space, sonic domestication, articulations of acoustic privacy, soundscapes of political protest, busking, football fans and public libraries. Currently she’s writing on sensory agency + labour and technology, background music during Christmas, listening to outer space, and she’s working on a manuscript on cochlear implants as soundscape arrangers.

Currently she is working within the research projects Kuultava tulevaisuus (“Audible future”, 2024-2026), and Sonic Mediations and Ecocritical Listening (SOMECO, 2024-2028), a longitudinal research project investigating auditory cultures experienced and articulated in six European villages.

From 2019 to 2022 she was part of the Academy of Finland funded research project Auditory Cultures, Mediated Sounds and Constructed Spaces, responsible of Research Strand 3: Experienced and Reclaimed Acoustic Environments: to understand people’s experiences, perceptions and actions in urban and commercial environments especially regarding ubiquitous music.”

Michelle Macklem is a sound designer, mix engineer and artist. She lives and works in Naarm (Melbourne, Australia) as an uninvited settler on the land of the Wurundjeri and Boonwurrung people, to whom she pays her respect, and pays the rent. Sovereignty was never ceded.

Her work explores how sound is used to create social and political meaning. Using audio as an interlocutor, her work is concerned with the politics of land, voice and atmosphere.

She’s sound designed and mixed for Audible, ESPN, the Guardian, Radiotopia, TED and Wondery, among others. She sound designed the Audible original podcast Finding Tamika which received many accolades including a duPont-Columbia Journalism Award, Audible’s ‘Best of the Year’ podcast award, Vulture’s Best True Crime podcasts and was nominated for an Ambie.

She was the executive producer and co-creator of SBS’s Bad Taste, a podcast series about who we are through the foods we eat. Bad Taste won gold at The Signal Awards, silver at the Australian Podcast Awards and was nominated for a Webby award. She worked as a producer on Australia’s top daily podcast 7AM from 2019 to 2021. Before moving to Australia in 2018, she worked as a producer at the Canadian Broadcasting Corp (CBC) at CBC podcasts where she produced the Webby award-winning podcast The Fridge Light, and Sleepover with Sook-Yin Lee.

Her audio documentary work has been a NPR 1 One Editors’ Pick, was named as one of Vulture’s Best Podcasts of 2019 and Stereogum’s Best Music Podcasts of 2019.

The Midwest Society for Acoustic Ecology (MSAE) is dedicated to understanding the role of sound and listening in natural habitats and human societies. We promote public dialogue concerning the identification, preservation, and restoration of natural and cultural sound environments. Established in 2009, we realize our mission through local and regional initiatives. These include public soundwalks, educational workshops, and creative and scholarly productions. Our partners include the Chicago Parks District, NON:op Arts and Humanities, School of the Art Institute of Chicago, Experimental Sound Studio, and the World Listening Project, among others. MSAE is an affiliate of the World Forum for Acoustic Ecology (WFAE).

Milena Droumeva is an Associate Professor and Glenfraser Endowed Professor in Sound Studies at Simon Fraser University specializing in mobile media, sound studies, gender, and sensory ethnography. They have worked extensively in educational research on game-based learning and computational literacy, formerly as a post-doctoral fellow at the Institute for Research on Digital Learning at York University. Milena has a background in acoustic ecology and works across the fields of urban soundscape research, sonification for public engagement, as well as gender and sound in video games. Current research projects include sound ethnographies of the city (livable soundscapes), mobile curation, critical soundmapping, and sensory ethnography. Check out Milena's Story Map, "Soundscapes of Productivity" about coffee shop soundscapes as the office ambience of the creative economy freelance workers.

Nadene Thériault-Copeland is the Executive Director of New Adventures in Sound Art (NAISA), and Financial Coordinator for Charles Street Video. Nadene is also the past president of the board of directors of the Canadian Association for Sound Ecology. She promotes the dissemination of new and experimental sound art through her work with New Adventures in Sound Art, and recently edited four educational booklets published by NAISA: Radio Art Companion (2002), Sign Waves Companion (2002), Sound in Space (2003) and Sound Art Basics (2008). Nadene received her B.F.A. in Music from York University in 1991 where she studied composition with James Tenney. In March 2014 Nadene along with Darren opened a new bed & breakfast and artist residency space called (Warbler’s Roost).

Nandita Kumar is a new media artist who works at the intersection of art, science, technology and community to create interactive installations. She explores the elemental process through which human beings construct meaning from their experiences, by creating sensory narratives through sound, video/animation and performance, smartphone apps, customized motherboards, and solar/microwave sensors. Through her installations, interactive sculptures, paintings and animations, which seamlessly integrate new media and materiality, Kumar reflects on the striking contradictions within the industrial and natural landscape.

Nandita’s interest lies in propelling the human race towards sustainable development, which not only focuses on environmental protection but also social nurturing. Her process envisions a desirable future state for human societies in which living conditions and resource use continue to meet human needs without undermining the integrity, stability and beauty of natural biotic systems. Simultaneously, Nandita explores the impact of innovative technologies on human lives and natural ecosystems through her practice. She employs technology as though it were a natural element in an extended ecosystem. As a result, her works are hybrids, rooted in human nature while a pervasive electronic layer is integrated seamlessly.

As part-machine, part-artistic intervention, they function to challenge our uncritical reception towards technological advancement and re-imagine conventional approaches to environmental sustainability by democratizing data. In the process—whether environmentally, politically, technologically—she wants to create a more well-informed and active participant in the shaping and refiguring of our future. Her body of work explores concepts related to biomimicry, future food, urban design, impact of technology and data transparency through the lens of the five elements (Earth, Water, Air, Fire, Ether). Nandita’s projects are heavily research-based, leading her to become interested in “the data”, its representation and how one communicates the same to a larger audience.

In her research, she attempts to locate inherent patterns, modes of sustainability, cultural hybridity, technology, and the synergy between nature and our current urban environment. Nandita has shown in varied festivals and exhibitions throughout the world including Pompidou, ZKM, LACMA, REDCAT, ISEA, Je de Paume, The New Zealand International Film Festival, Film Anthology Archive NY, Indian Art Fair, Rome International Film festival, Stuttgart Animation Festival, The Academy of Television Art and Sciences in Los Angeles and been included in Best of Sydney Underground Festival DVD. “Ghar Pe/At Home” (2011-2012), a community art project she curated, has been documented online by Asian Art Archive (Hong Kong). Her work has been featured in The Wall Street Journal, The Asian Age, Hindustan Times, The Indian Express, Take on Art (India), Australian Art Collector. Nandita has received the ASU-Leonardo Imagination Fellowship and has also been a speaker at the Museum of Contemporary Art (Sydney) and TEDx.

She holds a joint Bachelors’s Degree from MS University, Baroda(India) and Elam School Of the Arts, Auckland University, (New Zealand), and has completed her Master’s Degree in Experimental Animation at California Institute of the Arts, Los Angeles(USA).

Nathan Wolek (b. 1977) is a sound artist and audio researcher whose work encompasses electronic music, audio field recording, multimedia performance, and sound design. He is currently the Lydia Pfund Endowed Professor of Digital Arts at Stetson University in DeLand, Florida.

Wolek completed his Ph.D. in Music Technology at Northwestern University, with a thesis project that explored the perception of granular synthesis. It was during his graduate studies that Wolek began authoring and sharing software for creative sound design. Among many electronic musicians and sound artists, he continues to be best known for the Granular Toolkit and LowkeyNW package, both popular extensions to Cycling74’s Max environment.

His music and sound installations feature rapid edits, gradually changing textures, and environmental recordings of personal significance. Wolek has presented his creative work across the United States, in addition to engagements in Korea, Germany, Norway, Switzerland, Canada and Brazil. His recent solo exhibition, Canaveral Soundscape, was the culmination of a 2020 residency at the ACA Soundscape Field Station at the Canaveral National Seashore.

Wolek’s research has been featured at the ICMC, SEAMUS, CMS, ATMI and CENSE conferences. His work has been recognized twice by the prestigious Fulbright Scholar exchange program. For his 2012 award to Norway, Wolek worked on the Jamoma software project in collaboration with members of the Bergen Center for Electronic Art. For his 2021 award to Scotland, he studied the local soundscape in public parks and nature preserves as the Fulbright-Scotland Visiting Professor at the University of Aberdeen.

Other career highlights include:

In 2020, Wolek collaborated with Atlantic Center for the Arts on the launch of Young Sound Seekers. The program creates opportunities for blind and partially-sighted youth to learn about natural soundscapes and audio field recording at Canaveral National Seashore. Young Sound Seekers is supported by a five-year grant from the Natural Sounds and Night Skies Division of the National Park Service. Wolek continues to serve as co-director of the program with Eve Payor, ACA Director of Community Programs.

New Adventures in Sound Art (NAISA) is a non-profit media arts organization that operates the fully accessible NAISA North Media Arts Centre and Café at 313 Highway 124 in South River, Ontario, Canada. Arts presentation with a focus on sound and listening are the basis of its year-round exhibitions, online broadcasts and performances.

New Adventures in Sound Art is located in the traditional territory of the Anishinabewaki peoples covered by the Williams Treaty (1923) and Robinson-Huron Treaty (1850). New Adventures in Sound Art recognizes the significant ongoing contributions of First Nations, Inuit, and Métis peoples to aural culture in Canada.

Nicole Carroll is a composer, performer, sound designer, and builder working with audio, video, and tangible objects. Her work spans installation, improvisation, and fixed media performance, across noise, soundscape, and acousmatic genres. She is active as a sound designer and composer in theatre, performs electronic music under the alias “n0izmkr,” and builds custom synthesisers, controllers, and performance sensor systems. Her research focuses on generative systems that merge analog and digital technologies to create musical performance systems from non-musical sources. Additional interests include soft circuits and wearable sensors, augmented acoustic instruments, and AV synthesis on mobile devices and embedded systems.

Themes found in Nicole’s work derive from reflections on nature, occult philosophies, literature, and the human psyche. Inspired by divination folklore, chance procedures, and hermetic occult philosophies, she uses the tarot and W.B. Yeats’ esoteric system detailed in A Vision as conceptual and mapping frameworks in her music. Yeats’ system of moon phases and their correspondences are combined with chance procedures, which are driven by tarot card symbolism and numerology, to determine form, texture, rhythmic relationships, and processing parameters during performance.

Nicole’s works have been performed internationally in USA, Mexico, Wales, Germany, Greece, Australia, and China, including at SEAMUS, ICMC, and NIME conferences. Nicole holds an M.M. and B.M. in Composition from Bowling Green State University and Arkansas State University, respectively. During the 2017-18 academic year, she was an Adjunct Research Fellow at QCGU in Brisbane, Australia. She received a Ph.D. in Computer Music and Multimedia from Brown University in Providence, RI, USA and is currently Lecturer in Digital Composition at the University of Newcastle in Australia.

Oonagh creates music and sound works to bring stories and places to life and has been commissioned to create over 70 works for radio, theatre, film, dance, live performance, public art, installation and with the community.

Her work involves music composition, sound design, sound art, production, recording, writing, teaching, facilitating, presenting, curation, videography and community consultation.

Oonagh is deeply inspired by the music of nature, the rhythm and melody of languages, the depth of tonal colour in the extensive scale systems and melodic structures of non-western musics and the stories of place, particularly waterways.

pablo sanz is an artist, composer and researcher. His body of work includes site-determined and public art projects, immersive installations, multichannel live performances, exhibitions, releases, and pieces for broadcast and headphone listening. His practice is an open-ended investigation of listening, more-than-human vitality, aural energies and otherness, with a focus on the limits and thresholds of perception and attention. Through a continuum of approaches, his environmental sound works explore the vibrant entanglements and creativity of human bodies, non-human creatures, energies, materials, spaces, and technologies, encouraging sensory ecological awareness. Listening becomes a political act, intended to resist dominant tendencies in contemporary societies, cultivating alternative forms of being and thinking.

pablo’s work has been experienced internationally in diverse contexts such as the Museo Reina Sofía, Matadero Contemporary Art Center, National Music Auditorium, La Casa Encendida, Fundación Juan March, Madrid; Phonos, Barcelona; Cafe Oto, London; PS2 Gallery, Belfast; STEIM, Amsterdam; ZKM, Karlsruhe; Audiorama, Gothenburg; Gallery Školská 28, Prague; PRAHA, Brno; Sonoscopia, Porto; VELAK, Vienna; Kino Šiška, Ljubljana; MWW Contemporary Museum, Wroclaw; ACMC Sonic Environments, Brisbane; Brooklyn Acoustic Ecology Festival, NYC; Sound Scene, Washington DC; and FILE Festival, São Paulo, among others.He has produced commissioned works for Radio Clásica on the Spanish National Radio (RNE); Reina Sofia Museum Radio (RRS); FoN Air, UK; the Atelier de Création Sonore Radiophonique (ACSR), Brussels, and R{A}DIO{CUSTICA} in the Czech Radio. He has released pieces in collaboration with Framework Editions, Estonia; GFR, Portugal; Gruenrekorder, Germany; Sonic Terrain, Colombia; Vacuamoenia, Italy; and Very Quiet Records, UK, among other labels and platforms.

He has participated in several artists residencies including EMS Elektronmusikstudion, Stockholm; Matadero Madrid; Visby International Centre for Composers, Gotland; CONA, Ljubljana; Mamirauá Institute, Tefé, Amazonas; ARE Holland, Enschede; Q-O2, Brussels; and Nau Côclea, Girona, among others. Grants and awards received include a Phonurgia Nova Award (2020), the Artistic Research Grant Hangar – Casa de Velázquez (2020), Arts Council of Northern Ireland ́s SIAP Awards (2020, 2019), Experimental Radio Production Grant (CRA Matadero, Ars Sonora-RNE, AMEE, 2019), Santander Mobility Award (2015), Sound-In Programme (Estampa, 2012), INLAND Campo Adentro (2011), Europe: A Sound Panorama (Goethe Institute, Deutschlandradio Kultur, ZKM Center for Art and Media Karlsruhe, 2011), and the 5th On Air Radiophonic Art Prize (CBA Madrid, 2007).

He has given talks, seminars and workshops internationally, and currently is a faculty member at the Master of Electroacoustic Music Composition (MCE) at CSKG in Madrid. He is a co-founding member of Mediateletipos.net (2004—), an independent initiative devoted to the research and dissemination of auditory culture, experimental music, and sonic arts. He also worked as an editor in ArteSonoro.org and was the artistic director for the triannual program ‘Sensxperiment 2009-11: Sensory Immersion’ in Córdoba, Spain. Pablo graduated from the University of the Arts of The Hague, attending the ArtScience Interfaculty and the Institute of Sonology. He holds a PhD in Experimental Electroacoustic Music Composition and Sonic Arts (‘Environmental Composition Approaches’) by the Sonic Arts Research Centre (SARC) at Queen ́s University Belfast.

Professor Paul Roe received his MEng from the University of York in 1987 and his PhD from the University of Glasgow in 1991. He is currently a full professor in the Science and Engineering Faculty at QUT, in Brisbane Australia. At QUT, he founded and led the Microsoft-QUT eResearch Centre, a collaboration between the Queensland State Government, Microsoft Research and QUT which investigated smart tools for eResearch. Professor Roe has published over 200 papers, received over $10M in competitive research funding (50% in category one research) and graduated more than 21 research students. He has organised numerous conferences. He undertakes novel interdisciplinary research, including ecological acoustic monitoring systems which enable new scales of environmental monitoring through big data collection and analysis, and novel computer systems supporting communication and collaboration in remote Aboriginal communities. Recently he has created the worlds first acoustic observatory to acoustically monitor biodiversity across Australia www.acousticobservatory.org

Born on unceded Whajuk Noongar land in Perth, Western Australia, Australian artist Dr Perdita Phillips has an expansive practice working in installation, environmental projects, walking, sound, video, publishing and object making. Beginning in 1992, her commitment to ‘ecosystemic thinking’ has led her to work with material and conceptual networks as diverse as drains, minerals, termites and bowerbirds at the intersection of the human and non-human worlds.

Originally trained in environmental science, she was awarded a British Commonwealth scholarship to study a MA at Goldsmiths College 1997-1999. Phillips’ practice based PhD (2003-2006) fieldwork/fieldwalking was recognised as one of the top three annual abstracts in the Leonardo Abstracts Service Database. She has been awarded State Government of Western Australia funding for recent solo and group projects and two Inter Arts Grants from the Australia Council. Phillips has contributed to many interdisciplinary forums and is co-founder of Lethologica Projects. Her work is often seen outside the gallery context, finding spaces and places where change can/is manifest. She is the current Tate Adams Memorial Fellow at Baldessin Studio (2024 State Library of Victoria Fellow).

Phillips’ most recent solo project was the Terrane Project, an Artist-in-Residence at the Museum of the Goldfields (Art on The Move/Art Gallery of WA Freighting Ideas touring program). In 2024 she finished the Joondakammer commision for the City of Joondalup and worked as part of the underFOOT collective to create Mélange (Mundaring Arts Centre as part of IOTA24). In 2023 she won the Open – Film & video category of the 2023 Northern Beaches Environmental Art & Design Prize with the work wheatbelt anticipatory archive I and concluded We must catch up at The Farm, Margaret River (2019-2023). In that year she was also selected for The new geologic epoch (online exhibition and printed book), Powerhouse Late : Landscapes (Powerhouse Museum, Sydney, curated by AWE Collective), WAMA Art Prize (Ararat Gallery TAMA), Bunbury Biennale: A Cultural Ecology (Bunbury Regional Art Gallery) and BIRD (Climarte, Melbourne). Some earlier exhibitions include Make Known: The Exquisite Order of Infinite Variation, (UNSW Galleries, Sydney ), Frankenstein GRID (Stanford University outdoor projection festival) in 2018 and Incinerator Art Award (Incinerator Gallery, Moonee Ponds), Another Green World (Western Plains Cultural Centre, Dubbo) and Objectillogica – a modern wunderkammer (The Holmes à Court Gallery at Vasse Felix) in 2017. Publications include Seeping, maintaining, flooding and repairing: how to act in a both/and world in Swamphen: a Journal of Cultural Ecology and Fossil iii for the Lost Rocks project.

Perri Lynch Howard is a multi-disciplinary artist working in painting, drawing, installation, and sound. Her work investigates the passage of light, sound, and signal through the world’s most vulnerable ecosystems - a phenomenology of place.

Howard’s art has a global reach through exhibitions and sound installations completed in the United States, Italy, Portugal, Brazil, Canada, the Arctic Circle, and in South India as a Fulbright Senior Research Scholar. She is a volunteer field recording ambassador with Quiet Parks International, and an avid adventurer.

Philip Samartzis is a sound artist, researcher, and curator with a specific interest in remote regions and their communities.

Philip investigates the social and environmental conditions of remote wilderness zones including Antarctica, the Swiss and Australian Alps, and the Kimberley and Pilbara regions of Western Australia. The sound recordings he makes deploying advanced audio technologies are used within teaching, exhibition, and publication to demonstrate the transformative effects of climate change within a contemporary art context. In 2021, Philip was presented with the Australian Council of University Art and Design Schools Distinguished Research Award.

Philip is a three-time recipient of the Australian Antarctic Territory Fellowship which he is using to document the effects of extreme climate and weather events. He is undertaking the most comprehensive sound study ever produced of the ice continent spanning 20 years. Philip has presented various iterations of his research in France, Switzerland, Italy, Japan, NZ, UK and US. Philip’s book Antarctica, An Absent Presence (Thames and Hudson) is included in curricula focusing on soundscape studies and geohumanities offered by London College of Communication, Musashino Art University, Durham University, the University of Syracuse, and the Zurich University of the Arts. In recognition of the innovation of his research, Philip was selected by Australia Post to appear on the $2.20 postage stamp commemorating the Australian Antarctic Territory Arts Fellowship.

In 2019, Philip was awarded a Swiss National Science Foundation Fellowship to undertake research at the High Altitude Research Centre at Jungfraujoch. His high alpine research has been featured in the New York Times, Deutsche Welle Radio, Swiss Info and Les Temps news services and exhibited in China and Japan (2019) and Switzerland and Australia (2021). Philip was recently awarded a Creative Australia International Engagement grant to register the subterranean sonics of Valais in collaboration with the Verbier 3-D Foundation, and the Valais School of Art.

Philip van hout is a South Australian sound engineer, sound designer, radio producer and announcer. He has a PhD investigating acoustic environments of South Australia. His work includes soundtracks for spoken and written word performances, sound mixing and recording mixing for live and delayed broadcasts, sound design and mixing for various theatre productions, and worked for festivals such as On the Road, Fringe and Womad. His work in film sound has also included on-location recording and post-production dialogue, foley, sound design and music for short and feature films. These films have been screened locally and internationally, including Venger, The Justice Squad, Ouroboros, Event Zero, The Tunnel, Infini, Terminus, Broke and TeenKicks.

Located in the breezeway between the Quail Roost Drive parking lot and adjacent Miami-
Dade Transit station, this monumental 320-foot installation transforms an ordinary
pedestrian thoroughfare into an immersive acoustic experience. Quail Roost Sanctuary
employs a custom array of sound modules that activate the architectural acoustics of the
site—producing a temporally evolving soundscape sourced from regional ecosystems and
the space’s own resonant properties.

Welcome to Ecosounds, home of the QUT Ecoacoustics Research Group. Led by Professor Paul Roe, the lab investigates the use of acoustic sensing technology for monitoring the environment. Key areas of research include:

Automated and semi-automated acoustic data analysis methods, including:
Creating recognisers for rare, endangered or invasive species
Content-based similarity search
Smart sampling of audio to assist species richness surveys
Novel applications of acoustic sensing to biodiversity monitoring
Invasive species monitoring
Rare and endangered species monitoring
Navigation and visualisation of long duration acoustic recordings
Our acoustic workbench software, currently running at www.ecosounds.org, provides management, visualisation, and analysis services for large amounts of environmental audio data.

Rachel Epp Buller is a feminist art historian multimedia artist professor and mother of three. She holds a PhD in art history and an MFA in creative practice, and she is a certified practitioner in Deep Listening. Much of her artistic, written, and curatorial work has addressed the maternal body and feminist care in contemporary art contexts. Her current writing and artistic research explores slow practices, such as walking and stitching, with a particular focus on letter-writing as an act of relational care and a radical intervention into practices of academic scholarship. She privileges collaboration across disciplines and geographies, including her edited books Reconciling Art and Mothering (Ashgate / Routledge) and Inappropriate Bodies: Art, Design, and Maternity (Demeter), and curatorial projects with staff at the Ulrich Museum of Art, Wichita Art Museum, Kauffman Museum, Spencer Museum of Art, and Das Verborgene Museum. She has contributed essays to many edited collections, journals, and exhibition catalogues, and she reviews books and exhibitions for Woman’s Art Journal, Hyperallergic, and Journal of the Motherhood Initiative. She exhibits and speaks about her work internationally, including at Scuola Internazionale di Grafica, Venice / Universität der angewandte Kunst, Vienna / Mission Grafica, San Francisco / Flutgraben, Berlin / Upominki, Rotterdam / Ryerson University, Toronto / MASS MoCA / South Bank University, London. She is a two-time Fulbright US Scholar (2010-11 to Germany and 2021-22 to Canada), a regional coordinator of The Feminist Art Project, a board member of the National Women’s Caucus for Art, and Professor of Visual Arts and Design at Bethel College (KS/US).

Ramon De Marco (*1975) studied Audio Design at the Basel University of Music from 1995 to 2000. Afterwards he was in charge of the development of the Sound Design Studio at SRF Virus (Swiss National Radio). From 2001 he was project manager in the music department of Fabrica (Benetton's communication and research centre) in Treviso, Italy. In 2005 he founded Idee und Klang Audio Design together with Daniel Dettwiler. 2022 he founded the startup AUDIOBREEZE together with Peter Philippe Weiss.

Ramon's work focuses on multidimensional compositions for spaces and intelligent sound designs for media productions. He realised international scenographic projects such as the BMW Museum in Munich, the First Wold War Galleries at the IWM London, the 'National Museum of Qatar’ in Doha or the awarded exhibition Sounds of Silence at the Museum of Communication in Bern.

As a sound artist he has also realised projects for various art exhibitions and festivals, such as the Italian Cultural Institute in London, the Outer Ear Festival in Chicago, the Centre Pompidou in Paris, Experimenta Design in Lisbon and Klang Moor Schopfe in Gais (CH). In 2022 he was invited as Artist in Residence for Pro Helvetia in Venice. His work focuses on sound in space: Therefore he uses field-recordings as sources to study the condition of places and loudspeakers as musical instruments to produce spatiality under special acoustic conditions.

Ramon also regularly gives lectures on sound scenography at international conferences. Since 2010 he has also been teaching sound design and acoustics at the Institute of Interior Design and Scenography at the FHNW in Basel and the FHGR in Chur (Switzerland) and is a guest lecturer at various other universities. In 2021 he published a book with the title: Sound Scenography - The Art of Designing Sound for Spaces.

Randolph Jordan, PhD, is a Research Associate with the World Soundscape Project at Simon Fraser University in Vancouver where he is designing research methodologies to address the enmeshing of media and place. He teaches in the Humanities department at Champlain College Saint-Lambert in Montreal. His research, teaching, and creative practice reside at the intersections of film studies, sound studies, and critical geography. His recent work has focused on the relationship between the World Soundscape Project and the broader media landscape of Vancouver, British Columbia. He has contributed anthology chapters on the politics of location sound in Vancouver films to Cinephemera (McGill-Queen’s), The Routledge Companion to Screen Music and Sound, and Critical Distance in Documentary Media (Palgrave), and have published related work on the Sounding Out! blog and in UBC’s film journal Cinephile. His multi-media project Bell Tower of False Creek engages with contested land use around Vancouver’s Burrard Bridge, which he has written about for Soundscape: The Journal of Acoustic Ecology. The Bell Tower film component has screened at festivals and symposiums internationally, and he has recently completed work on a multi-channel sound installation for the Impostor Cities project at the Canadian pavilion of the 2021 Venice Architecture Biennale, exploring the mediated soundscapes of Canadian architecture in foreign film productions. He is co-editor of Sound, Media, Ecology with Milena Droumeva (Simon Fraser University), published by Palgrave in July 2019, and completing a monograph for Oxford University Press entitled An Acoustic Ecology of the Cinema.

Raquel Castro is a researcher, director and curator. Founder and director of the Lisboa Soa sound art festival and the international symposium Invisible Places. She is an integrated researcher at the Centre for Research in Applied Communication, Culture and New Technologies and is currently teaching at Lusófona University, in Lisbon. Her activities as a researcher and curator have resulted in different documentaries, such as Soundwalkers (2008) and SOA (2020), where interviews, sound art and sonic ambiances combine to broaden awareness of sound. SOA is currently part of Netflix's worldwide catalogue, being streamed in more than 190 countries. She is currently curating the Sound Art in Public Spaces exhibition cycle, under the European project Sounds Now. In 2022, Castro founded the association Sonora, which creates and produces transdisciplinary projects at the intersection of art, science, ecology and sound.

La RED ECOLOGÍA ACÚSTICA MÉXICO [REA_MX] es un espacio que reúne a académicos, profesionistas, creadores y estudiantes, interesados en los aspectos sociales, culturales, ecológicos y científicos del entorno sonoro de México.

Los miembros de la REA_MX promueven el estudio, producción, difusión y divulgación de las actividades relacionadas con la ecología y el sonido.

La REA_MX fomenta una participación, propositiva y creativa de la comunidad a través de seminarios, congresos, caminatas sonoras, concursos, cursos, exposiciones, y publicaciones relacionadas con la ecología acústica, el paisaje sonoro y actividades como la escucha activa y el deep listening o escucha profunda.

Las actividades de la REA_MX iniciaron en 2018, con un primer encuentro entre el Presidente de la World Forum of Acoustic Ecology (WFAE) Dr. Eric Leonradson y la Dra. Luz María Sánchez Cardona de la Universidad Autónoma Metropolitana (UAM) con la intención de estructurar un grupo de trabajo que tuviera como objetivo la conformación de un capítulo mexicano que se integrará a la WFAE.

En 2019 se conformó el primer Comité Científico REA_MX cuyo objetivo fue iniciar trabajos de creación de redes y la organización de la 1a Asamblea de la REA_MX y el I Encuentro Internacional de Ecología Acústica de la REA_MX. Se estableció un primer espacio de comunicación y se abrieron redes sociales para mantener interconectados a los interesados.

En 2020 este Comité Científico definió las principales líneas de investigación a partir de las temáticas de interés propuestas por sus miembros, y organizó el II Encuentro Internacional de Ecología Acústica de la REA_MX y la 2a Asamblea de la REA_MX. Asimismo definió un mecanismo para integrar a interesados en conformar el Comité Científico de Transición REA_MX que fue formalizado en enero de 2021.

Los nuevos miembros del Comité Científico de Transición REA_MX 2021 se reúnen periódicamente. Sin embargo la situación generalizada de emergencia sanitaria ha provocado que las actividades programadas se suspendieran indefinidamente a partir de 2021.

El pasado 18 de febrero de 2022, el Comité Científico de Transición REA_MX y aprobó por unanimidad, el hacer públicas sus Reglas de Operación a la página web de la REA_MX. Esto permitirá que aquellos interesados conozcan cómo opera la REA_MX y abrirá un canal de afiliación claro. Con lo que finaliza esta etapa de proceso de conformación estructural de la REA_MX.

La REA_MX invita a sus miembros a unirse al Foro Mundial de Ecología Acústica o WFAE por sus siglas en inglés (World Forum of Acoustic Ecology), como miembros afiliados individuales. Los beneficios incluyen la promoción de sus actividades en el WFAE News y la posibilidad de participación en la revista especializada Soundscape: The Journal of Acoustic Ecology (por convocatoria), así como la oportunidad para vincularse con una comunidad local, nacional e internacional de interesados en la ecología acústica.

«Everyone resonates with the incomparable sound, biosphere, and acoustic sphere at Lake Schwendi and thus has deeply touching experiences with themselves and their fellow world.

This experience of being connected to everything is vitally important both individually and socially today.

Peter Roth, initiator of Klangwelt Toggenburg

The modern wooden structure, nestled between Stump's Alpenrose and the Klanghaus, blends seamlessly into the impressive natural scenery of Schwendi Wildhaus. Named after the composer and visionary sound researcher Peter Roth, the center serves as a vibrant hub for cultural inspiration and experience. The new building impresses with its contemporary wooden architecture, creating spacious and functional spaces within a small footprint while meeting the highest aesthetic standards. This construction also fosters an ambiance conducive to creative development and the exchange of experiences, making the center an ideal meeting place for encounters that keeps Peter Roth's vision alive.

The inviting reception and information area of ​​Klangwelt Toggenburg is located on the ground floor of the Peter Roth Resonance Center. Here, guests are welcomed and informed about the diverse offerings – from captivating concerts and exciting courses to fascinating exhibitions and guided tours.

One floor up, the multifunctional meeting center opens up, serving as a versatile seminar room and offering ideal conditions for workshops, courses, meetings, and cultural events. The sophisticated spatial design inspires and facilitates both private and public events.

The centerpiece of the center is the "Klangdom" on the top floor, with its unique acoustics. This space invites visitors to immerse themselves in intense sound and listening experiences. An interactive exhibition complements the experience by illustrating the history of the Klangwelt Toggenburg and the Klanghaus and honoring the life's work of Peter Roth.

With its modern design and clear functionality, the Resonance Center sets an architectural standard, offering a place where sound, architecture, and encounters combine in a unique symbiosis. This inspiring center impressively highlights the cultural vision of Toggenburg.

Architecture and Visualization: Graber Pulver with Martina Hauser

Rob Mackay is an award-winning composer, sound artist and performer. Recent projects have moved towards a cross-disciplinary approach, including geology, soundscape ecology, theatre, audiovisual installation work, and human-computer interaction. His work has been performed in 18 countries (including several performances on BBC Radio 3, BBC Radio 1 and Radio France), and a number of his pieces have received international awards (Bourges (1997 and 2001), EAR (1999), La Muse en Circuit (2007)). He has held composer residencies at Slovak Radio (Bratislava), La Muse en Circuit (Paris), the Tyrone Guthrie Arts Centre (Ireland), Habitación del Ruido (Mexico City), and CMMAS (Morelia).

He has collaborated with a number of poets, including Martin Daws (Young People’s Poet Laureate for Wales, 2013 – 2015) and John Wedgwood Clarke (for the Arts Council funded Dictionary of Stone and Sea Swim with Lara Goodband). This was a natural progression from working on a number of projects based on the theme of geology, including a collaboration with percussionist Dame Evelyn Glennie on the Natural England funded Ruskin Rocks project, led by a team of scientists and musicians at the University of Leeds who created two stone instruments (lithophones). He has also created a Jurassic soundscape for Scarborough’s Rotunda museum which is currently installed.

Rob has been a reviewer for numerous international conferences, including ICMC (International Computer Music Conference), NIME (New Instruments for Musical Expression), DHRN (Digital Humanities Research Network), Balance/UnBalance, and journals (Organised Sound, Cambridge University Press). He is also on the editorial board for Interference, a Journal of Audio Cultures, and is currently guest editor for Soundscape and Ideas Sónicas/Sonic Ideas.

He has played, written and produced in a number of bands including the Welsh Hip-Hop collective Tystion with whom he collaborated alongside John Cale on the film A Beautiful Mistake (Film 4), as well as recording three John Peel sessions on BBC Radio 1 and supporting PJ Harvey. The band have a chapter devoted to them in Sarah Hill’s book ‘Blerwytirhwng?’ The Place of Welsh Pop Music (Ashgate 2007).

Rob has done session work for Super Furry Animals producer Gorwel Owen, songwriter Euros Childs, and Hip-Hop producer Kista. He is currently enjoying playing in the Welsh Afro-tropical collective Drymbago, having supported Quantic and Tony Allen, and recently receiving play by Mr Scruff.

Rob is currently a Senior Lecturer in Composition at Newcastle University. Previously, he was a Reader in Music at the University of Hull where he directed HEARO (Hull Electroacoustic Resonance Orchestra). He is also the Chair of UKISC (UK and Ireland Soundscape Community), an affiliate of the WFAE (World Forum for Acoustic Ecology).

More information and pieces at: www.soundcloud.com/robflute

Robin Parmar explores the phenomenology of place and the poetics of memory using non-narrative film, generative installations, poetic texts, and environmental composition. Research interests include psychoacoustics, visual music, field recording, audio synthesis, radiophonics, and epistemologies of nature. He has released eleven albums: on Silent Records (USA), Gruenrekorder (Germany), and his own Stolen Mirror (Ireland). "Music for Glaciers," a generative performance, debuted on Culture Night 2019 in Limerick. His film "The Swerve" premiéred at Light Moves: Festival of Screendance 2018. Awards include the Invisible Places residency (The Azores, 2017) and an Arts Council Bursary (2017). Robin has a doctorate in Sonic Creativity from De Montfort University (Leicester, UK) and is Lecturer in Video, Film, and Visual Communication at the University of Limerick (Ireland). He is Vice-President of the Irish Science, Sound, and Technology Association (ISSTA) and is on the board of Interference: Journal of Audio Culture. Visit robinparmar.com and stolenmirror.com.

Room40, a beacon of sound...ringing out from the deepest south

Dr Ros Bandt is an internationally acclaimed sound artist, composer, musician, researcher and scholar. Since 1977 she has pioneered interactive sound installations, sound sculptures, and created sound playgrounds, aeolian harps spatial music systems, and over 75 sound installations worldwide. She has curated many sound performances, exhibitions and events. Her original works are recorded by Neuma records (USA), New Albion Records (USA), Move Records (Melbourne), EMI/ABC, Wergo (Germany), Ars Acoustica, (Germany), Double Moon (Turkey), Pozitif Müzik Yapim, Hearing Places, Sonic Gallery. Her vinyl rereleases have been published by Bedroom Suck Records, Daisart and Efficient Space.

In 1990 Bandt won the Don Banks Composers Award, being the first woman to do so. Other awards include the inaugural Benjamin Cohen Peace Prize in the USA and the Sound Art Australia Prize funded by the ABC and the Goethe Institute. She has been commissioned by the Paris Autumn festival, the Studio of Acoustic Art, WDR-Cologne, Centrum Ujadowsky Warsaw, Transit and ORF Vienna and was one of the six exquisites in the International Sound Art Festival in the USA. In 2019 she was commissioned by the Melbourne Recital Centre for their 10th birthday.

Ros Bandt is a multi-instrumentalist, and has been a founding member of many ensembles including the early music ensemble la Romanesca, the cross-cultural Back to Back Zithers, the improvisatory LIME, and the baroque trio Trio Avium. She is an expert recorder player and teacher having studied in Basel Switzerland with Andreas Küng, in Spain with Baldrick Deerenberg, and in Australia with Ruth Wilkinson. She is a passionate advocate of the long necked tarhu, a bowed spike fiddle invented by Australian luthier Peter Biffen. For a decade she has collaborated internationally with this instrument culminating in a double CD Tarhu Connections, available on Bandcamp. Her acoustic sanctuary in Central Victorian goldfields can be experienced in the digital online calendar over 12 months according to the seven seasons observed from the land. Jaara Jaara Seasons CD was sourced from this magic habitat. Two public events were shared here, the second Freshwater Listening celebrating twenty years of acoustic ecology in Australia. This Land for Wildlife is a wildlife sanctuary where recording sound is a barometric measure of presence and absence of different species.

Dr Bandt is a prolific writer on sound and her book, Sound Sculpture: Intersections in Sound and Sculpture in Australian Artworks, (Fine Arts Press) is the first audio visual profile of Australian sound art. She created the first online sound art gallery, searchable data-base and web site merging sound art practice with academic research on her third ARC grant at the Australia Centre, the University of Melbourne, The Australian Sound Design Project. She has taught improvisation, sound art and frequently curated cross-cultural collaborative projects in ancient sites in the Mediterranean. She is in demand as a keynote speaker on sound, here and internationally.

Sabine Breitsameter is a professor of media culture at the Darmstadt University of Applied Sciences. Her focus is on electro-acoustic art, media history and the culture of listening. From 2004–08 she was visiting professor of experimental sound design at the Berlin University of the Arts where she co-founded the Sound Studies master degree course. As an author, director and editor she focuses on media art, contemporary music and modern culture and has created many radio plays and documentaries, mainly for the German public broadcasters Deutschlandradio, ARD, ORF/Austria, NPR, and Radio Canada. As a scientific and artistic director she has curated numerous art projects, symposia and festivals, for instance All Ears - Symposium on Listening (Kassel 1997, in parallel with documenta X), StadtStimmen (Wiesbaden 1999), trans_canada (ZKM Karlsruhe 2005), Radio_Copernicus – the German-Polish Artist Radio (Berlin–Warsaw–Wrocław, 2004–2006), The Global Composition. Conference on Sound, Media and Ecology (Darmstadt 2012). In 2010, she published, translated into German and wrote the introduction to R. Murray Schafer’s The Tuning of the World.

Sabine Feisst is Evelyn Smith Professor of Musicology (School of Music), Senior Sustainability Scholar (Global Institute of Sustainability), and Faculty Honors Advisor (Barrett The Honors College) at Arizona State University. She holds a Ph.D. in Musicology from the Free University of Berlin and served on the faculty of Bard College and the University of Notre Dame before joining ASU. Her research interests focus on the music of the twentieth and twenty-first centuries, ecocriticism, acoustic ecology, migration studies, and improvisation.

Feisst’s publications include the books Schoenberg’s Correspondence with American Composers (Oxford UP 2018), Schoenberg’s New World: The American Years (Oxford UP 2011) and Der Begriff “Improvisation” in der neuen Musik (Studio Verlag 1997). Schoenberg’s Correspondence with American Composers was considered a “major contribution to Schoenberg scholarship” and Schoenberg’s New World won the prestigious Irving Lowens Book Award of the Society for American Music and was called “a pioneering work of revisionist scholarship.” Her volume on improvisation was praised as “an invaluable addition to the music history literature on experimental music.” She also published Schoenberg’s Early Correspondence, co-edited and translated into English with Ethan Haimo (Oxford UP 2016). She is currently editing the nine-volume set Schoenberg in Words with Severine Neff for Oxford University Press. Feisst authored over 50 articles and book chapters in such journals as Archiv für Musikwissenschaft, The Musical Quarterly, and the Journal of the Arnold Schönberg Center. She contributed forty encyclopedia entries to The New Grove Dictionary of Music and Musicians II, The New Grove Dictionary of American Music II, and Die Musik in Geschichte und Gegenwart, among other reference works.

Feisst is currently preparing a monograph on music inspired by deserts in the American Southwest and editing the Oxford Handbook of Ecomusicology. With Garth Paine, she is co-directing ASU’s Acoustic Ecology Lab http://acousticecologylab.org/ which features such research streams as EcoRift, EcoSonics, Sound Walks and the large-scale Listen(n) Project combining artistic and scientific research, innovative technology, community workshops, and socially embedded art activities. https://azpbs.org/catalyst/2019/02/catalyst-acoustic-ecology-lab/

Through the Acoustic Ecology Lab, she collaborates with researchers from other disciplines at ASU (Architecture, Arts Media and Engineering, College of Health Solutions, Global Institute of Sustainability, School of Life Sciences and School of Social Transformation) and at universities in Austria, Denmark and Germany.

Feisst has presented her research in the United States, in Canada, Europe, Asia and Australia at conferences of such organizations as the International Musicological Society, American Musicological Society, Society for American Music, and the Gesellschaft für Musikforschung. She has served as keynote speaker and been invited to speak at symposia, university seminars and music festivals.

Feisst has been awarded research fellowships, grants and publication subventions from the American Musicological Society, Avenir Foundation, National Endowment for the Humanities, The Mannes Institute for Advanced Studies in Music Theory, and the Deutsche Forschungsgemeinschaft. In 2014 she was chosen as one of five ASU professors to receive the Defining Edge Research Award in the Humanities and Literature.

In 2019 she was awarded the School of Music’s Evelyn Smith Professorship to

conduct research in ecomusicology and to develop new community-engagement based classes on music in the Southwestern desert and borderlands.

Her ASU course topics include music and sustainability, experimental music, improvisation, music and the visual arts, music and film, German modernism, migration studies, Baroque music and performance practice. A nominee for several teaching awards, including the ASU Parents Association Professor of the Year award, her graduate students have presented their research at national and international conferences.

She is the U.S. editor of the Contemporary Music Review and on the editorial board of the Ecomusicology Review. She was a fellowship referee for the NEH and regularly reviews manuscripts for academic presses and journals.

Salomé Voegelin is a writer, researcher, and practitioner, who works from the relational logic of sound to focus on the in-between and the liminal, where different disciplines meet to deal with contemporary issues, and where feminist, decolonial, and postanthropocentric demands can engender different and plural knowledge possibilities. She is engaged in the transversal and transdisciplinary potential of the sonic - to listen across disciplines and processes in order to develop a hybridisation of research where music, arts and humanities skills and methodologies can generate a contemporary response to climate, health and social emergencies.

She is the author of Listening to Noise and Silence (2010), Sonic Possible Worlds (2014/21), The Political Possibility of Sound (2018) and Uncurating Sound [2023]. These books, as well as her numerous articles and papers, applied working and experimentation, develop a critical understanding of music, art and the environment as aesthetic, ecological and social, as well as economic and political milieus, whose relational reality and artistic fiction is made accessible through a “sonic thinking”, understood not as essentialist or an anti-visual mode of engagement, but as multi-sensory and response-able: making us “see” more, and appreciative also of what we might not see.

The World Soundscape Project (WSP) was established as an educational and research group by R. Murray Schafer at Simon Fraser University during the late 1960s and early 1970s. It grew out of Schafer's initial attempt to draw attention to the sonic environment through a course in noise pollution, as well as from his personal distaste for the more raucous aspects of Vancouver's rapidly changing soundscape. Schafer's call for the establishment of the WSP was answered by a group of highly motivated young composers, activists and students: Hildegard Westerkamp, Barry Truax, Howard Broomfield, Peter Huse and Bruce Davis. Supported by The Donner Canadian Foundation, the group embarked first on a detailed study of the immediate locale - the City of Vancouver - published as The Vancouver Soundscape in 1973. In 1975, Schafer led a larger group on a European tour that included lectures and workshops in several major cities, and a research project that made detailed investigations of the soundscape of five villages, one in each of Sweden, Germany, Italy, France and Scotland, resulting in the publication of Five Village Soundscapes. Also in 1973, Bruce Davis and Peter Huse embarked on a cross-Canada recording tour, the recordings from which formed the basis of the CBC Ideas radio series Soundscapes of Canada. The tour completed the WSP's analogue tape library which includes more than 300 tapes recorded in Canada and Europe with a stereo Nagra portable recorder. The work also produced two publications, a narrative account of the trip called European Sound Diary and a detailed soundscape analysis manuscript called Five Village Soundscapes. Schafer's definitive soundscape text, The Tuning of the World published in 1977, and Barry Truax's reference work for acoustic and soundscape terminology, the Handbook for Acoustic Ecology published in 1978, completed the publication phase of the original project. The Vancouver Soundscape Project was extended in 1993 by re-recording soundscapes in many of the same locations originally visited by the WSP team. A Vancouver Soundscape double CD with soundscape compositions based on those recording was released in 1996 by Cambridge Street Records. In 2009 professor Jan Marontate, in collaboration with Barry Truax at the School for Communication, funded a third iteration of the Vancouver Soundscape project, which involved re-recording most of the original locations in the city and producing video interviews with many of the original WSP members. In 2009 the Five Village Soundscapes was reprinted (with 2 CDs) along with the results of the Finnish study (Acoustic Environments in Change) that re-visited those sites. For additional context and information, see Barry Truax's website here.

Scott Smallwood was born in Dallas, Texas, and grew up at 10,000 feet in elevation in the Colorado Rockies. At the age of 10, his father gave him a cassette tape recorder, and ever since he has been fascinated by the possibilities of recorded sound. He creates works inspired by discovered textures and forms, through a practice of listening, field recording, and improvisation. In addition to composing works for ensembles and electronics, he designs experimental instruments and software, as well as sound installations and audio games, often for site-specific scenarios. Much of his recent work is often concerned with the soundscapes of climate change, and the dichotomy between ecstatic and luxuriating states of noise and the precious commodity of natural acoustical environments and quiet spaces.

As a performing artist, Smallwood has performed as a percussionist, steel pannist, pianist, and electronic musician on laptops, synthesizers, noise generators, and handmade electronic instruments. He is one half of the duo Evidence (with Stephan Moore), and has performed and collaborated with many other artists and musicians, including Mark Dresser, Yanira Castro, Matmos, The Jen Mesch Dance Conspiracy, Pauline Oliveros, Curtis Bahn, Seth Cluett, Gary James Joynes, Sydney Lancaster, Cindy Baker, Marilene Oliver, Sean Caulfield, and many others. As a composer, he has written works for individuals and ensembles, including works for Continuum Ensemble of Toronto, the Nash Ensemble of London, the New York Virtuoso Singers, David Schotzko, Roger Admiral, and many others.

His work has been presented worldwide, including Issue Project Room, The Stone, and other venues in NYC, the Burning Man Festival in Black Rock City, Nevada, the The Hong Kong Arts Centre, and the Seedspace Gallery in Nashville. His work has been released on Autumn Records, Deep Listening, Wowcool, Simple Logic, Static Caravan, and others.

The Scripps Acoustic Ecology Laboratory investigates phenological patterns and spatial ecology of cetaceans, interactions of predators and their prey, and adaptations of animals to changes in their environment.

SIAL Sound Studios officially opened in 2004, and is housed in The Design Hub at RMIT University in Melbourne, Australia. Originally part of SIAL (the Spatial Information Architecture Laboratory), we are now part of the Master of Design Innovation and Technology (MDIT) in the School of Design.

Only a small number of international design schools offer sound in their research and teaching programs. SIAL Sound Studios provides a unique multi-sensory design education for our students, while creating opportunities for practitioners to move beyond sound and contemporary music, into topics such as interaction design, sonification, acoustics, soundscape studies and immersion.

We add to teaching and research activities by curating, collaborating and producing public events through concerts, workshops, installations, exhibitions and festival appearances. These events use our speaker orchestra and include classic stereo diffusion approaches alongside multichannel and ambisonic composition and performance.

RMIT and external students can undertake single electives, the one semester Graduate Certificate or two year Master of Design Innovation + Technology degrees. Post-graduate study is available at both Master and PhD levels.

We have delivered large-scale Australian Research Council funded projects, alongside industry funded projects with local and national arts organisations, local government and commercial partners.

I am Simon Linke – a researcher/lecturer at the Australian Rivers Institute interested in conservation of rare freshwater fauna. Apart from statistical methods and eDNA approaches, I am also using passive acoustics (ie listening) to detect and plan for rare fish species. This was also triggered by my second life as a musician and sound engineer. Together with Toby Gifford and Leah Barclay, I formed the cross-department “Griffith Bioacoustics Lab” (which is yet to be formally launched). Only founded in 2014, we have already collaborated on a bioacoustics art/science project in London “Listening to the Thames” http://app.griffith.edu.au/news/2014/08/04/art-and-science-merge-in-the-thames/ as well as Leah’s ANAT Synapse residency program http://barclay2014.blog.anat.org.au/ . Future endeavours are planned to include a variety of topics, from behavioural bioacoustics on the science end to using bioacoustics as a tool for community engagement.

The project aims to investigate how the sonic environment in six European villages is changing and how this is experienced. The villages are Skruv in Sweden, Bissingen in Germany, Cembra in Italy, Lesconil in France, Dollar in Scotland and Nauvo in Finland. The project will provide information about the interaction between place, sound and listening and how this interaction is changing. The project draws on ethnomusicology and anthropology of sound and will focus on material, economic, technological, legal and cultural factors. It will pay particular attention to global changes in the context of the Anthropocene, digitalisation and the impact of different types of mediated content and their manifestation in everyday life in villages. Fieldwork will be carried out in six European villages using qualitative and quantitative methods such as participatory observation, sound level measurements and interviews with villagers, supported by archival research, to improve contemporary analysis of acoustic environments and inform policy makers about acoustic design and its impact on wellbeing.

SONORA is a non-profit cultural association that aims to think, create and produce transdisciplinary projects at the crossroad between art, science, ecology and sound. With artistic direction of Raquel Castro, SONORA was founded in 2022 to contribute to sound studies and practices focused on interventional sound art. Its activities are focused on three main areas: curatorial, training and research. As a laboratory that works for and with different places, SONORA is a house made of many sounds, based in Portugal but open to the world.

SONORA is a non-profit cultural association that aims to think, create and produce transdisciplinary projects at the crossroad between art, science, ecology and sound.

We are a team of scientists and educators working to understand the effects of noise and light pollution on ecological processes, inform the public about the importance of sound and light and its impact on wildlife and people, and preserve the natural sounds and night skies of the world.

Our research team was formed in 2007 as a collaboration between the Natural Sounds & Night Skies Division of the National Park Service and the Fish, Wildlife, and Conservation Biology and Biology departments at Colorado State University. We work primarily on the campus of Colorado State University and at the Natural Resource Stewardship and Science Directorate office of the National Park Service in Fort Collins, Colorado.

The Sound Art and Auditory Culture lab (SAAC) is an interdisciplinary hub for exchanging ideas around the creative uses of sound and auditory knowledge in society, culture and the environment.

SAAC aims to advance contemporary sound studies by investigating the complex relationships and interactions underpinning contemporary society. One of SAAC’s primary research areas includes Environmental Sound Art, where artistic practices utilise sound to engage with ecological issues, raising awareness about climate change and fostering a deeper connection with nature. By examining Social Soundscapes, SAAC analyses how soundscapes reflect and influence social dynamics, including how sound can reinforce or challenge social hierarchies and community cohesion. This research is crucial for understanding how auditory environments impact societal interactions and for developing strategies to promote inclusion and agency.

The Sound Studies Lab was founded in 2011 by Holger Schulze.
The founding phase of the lab was funded by the German Research Foundation (DFG) at the Humboldt University of Berlin and the Leuphana University of Lüneburg.

The Lab’s mission is to support and facilitate research by early-career and experienced scholars and artists working on the sonic and sensory aspects of individual lives and across heterogeneous societies, cultures, and historical periods. The Lab’s projects operate in mobile, experiential, and field-based research environments. The Lab’s fundamental research strategies are therefore fieldwork, critical analysis, and the production of sonic artifacts. The Lab’s research operates in constant exchange, evaluation, collaboration, and cooperation with some of the most recognized international researchers, publishers, peer-reviewed journals, exhibition spaces, and research institutions in the field of sound studies.

The researchers and writers, artists and designers of the Sound Studies Lab document their research processes and publish the results of their sound studies research projects in a variety of formats: in research blogs, in articles for academic journals and art or music related magazines, in public lectures, presentations, conferences as well as specialized workshops and university courses, in sound art installations and performances, in radio features or experimental sound art pieces.In recent years, we have had research assistants, guest researchers, and research collaborators from Denmark, Sweden, Finland, Hungary, Poland, Germany, the Netherlands, Switzerland, Austria, Italy, and the United Kingdom. We have also welcomed participants and contributors to our bi-weekly online colloquium and workshops from the United States, India, Australia, Brazil, Russia, China, Canada, Mexico, Japan, Spain, Turkey, Greece, Romania, New Zealand, Latvia, and Cyprus.

SC are an arts cooperative based at Stave Hill Ecological Park in Rotherhithe. We work on transmission ecologies from DIY broadcasting devices to public sound and radio projects. As part of the Acoustic Commons network, we coordinate the long-form radio broadcast Reveil (2014—), and a series of sound and ecology events (soundcamps) on Dawn Chorus day each year.

Current projects include REVEIL 10 over 6 to 7 May 2023; Between moons, a Cultural Bridge project with Radio Otherwise / Archipel Stations, and Listening Academy (London Summer 2023 edition) with Lucia Farinati and Brandon LaBelle.

SC have been part of the Creative Europe small cooperation project: Acoustic Commons (2020—22) in partnership with arts organisations in Europe and Japan. Recent projects include l a g with Kate Donovan for Sonic Acts (10/22), As if radio.. at COP26 Glasgow, Meet Me On The Radio with Hannah Kemp-Welch and the Deptford Albany, Biosphere Open Microphones (BIOM – with Leah Barclay and Biosphere Soundscapes) and PITCH, a portable auditorium designed and built by Public Works and Michael Speers.

SC have worked between very local and (inter)national scales with some 12,600 artists, 189,100 listeners and a live audience of 35,650. We do R&D and offer expertise in environmental, sound and transmission art and participatory technologies. We set up events, workshops and creative technical exchanges as part of a situated practice supported by Creative Europe, ACE, HLF and local funders.

Stephanie Loveless is a sound and media artist whose research centers on listening and vocal embodiment. Loveless’ sound, video, and performance work has been presented widely in festivals, galleries, museums and artist-run centers in North America, South America, Europe and the Middle East. She currently lives and works in upstate New York, on the shores of the Mahicannituck, where she is a Senior Lecturer at Rensselaer Polytechnic Institute in the Department of Arts, and Director of the Center for Deep Listening at Rensselaer. In 2025, Loveless published A Year of Deep Listening: 365 Text Scores for Pauline Oliveros (2025), which brought together a year's worth of daily scores for listening, contributed by over 300 artists. Her co-edited volume, Situated Listening: Attending to the Unheard, is a collection of essays that contribute theories and practices of embedded, contextual, and critical listening to growing literature in the field of sound studies.

I'm currently residing in Singapore while continuing my work with high performance audio systems and sound design.

I regularly work with various AWS technologies, Golang, Python, Typescript, C# and Java. Extensive experience with high performance C/C++ engineering and a broad range of enterprise technologies.

I develop a high capacity streaming audio server to provide immersive audio systems delivering hundreds of channels of real-time audio in medium to large public spaces.

I have also recently worked with Dolby SDKs to integrate Loudness metering, AC-3, E-AC-3, AC-4 and Atmos decoding into a broadcast application.

Seuran toiminta-ajatuksena on herättää kansalaisten kiinnostusta yhteisen ympäristön kaikkia äänellisiä ilmiöitä kohtaan ja tehdä tunnetuksi ääniympäristön kulttuurisia merkityksiä. Näihin sisältyvät paitsi miellyttävät ja epämiellyttäviksi koetut myös kulttuurisesti ja historiallisesti merkittävät ääni-ilmiöt ja ympäristöt sekä ennen muuta äänten ja ääniympäristöjen ainutlaatuisuus luonnossa, maaseudulla ja kaupungeissa. SAES on perustettu vuonna 1999.

Our Mission
We explore how sound and music influence our bodies, emotions, relationships, and the world around us. Bridging ancient traditions and modern science, we seek to understand music’s role in healing, learning, and collective transformation.
Our Team – The Living Symphony of SVARAM
Just as countless melodies emerge from the seven notes, SVARAM’s original team of seven has grown into a vibrant ensemble of over 90 dedicated artisans, designers, researchers, healers, musicians, trainees and international volunteers. Each person brings unique gifts, skills, and spirit, together creating the symphony that is the SVARAM Sound Experience. Here, working with our hands opens our hearts, focuses our minds, and energizes the spirit. Our team is united by a love for sound, a curiosity to explore, and a deep sense of community. We collaborate with master artisans, researchers, and institutions to rediscover ancient sounds and craft new ones.

This joyful collaboration fuels a culture of creativity and discovery, where tradition meets innovation, and every new instrument is a step into the unknown, in search of yet-unheard harmonies.

The Swiss Society for Acoustic Ecology (SSAE) founded in 2023, aims to support artistic, scientific, and societal activities in the field of acoustic ecology in Switzerland. The focus is on the national and international exchange between researchers, artists, students, and other societal stakeholders in the sense of a fundamental engagement with the soundscapes in the Alpine region and worldwide.

My work is focused on the study of sound within animal communication and natural acoustic environments for the creation of new music. My research is primarily centered on Biomusic, exploring the realms of acoustic ecology and interdisciplinary, intercultural studies of soundscapes. I hold a particular interest in the dynamic interplay between art and science from an ecocritical perspective. I engage in diverse concert formats, ranging from musical theater to immersive multichannel sound installations and hybrid forms, all aimed at fostering a contextualized listening experience that's deeply embedded in the geocultural and biopolitical dimensions of sonic events.

I am founder and director of the Acoustic Ecology Lab in Mexico as a space for epistemic and creative exchange to promote the development of environmental sound art.

Dr. Teresa Connors is active in many aspects of creative practice as an acoustic/electroacoustic composer, installation artist, creative coder, opera singer and film scorer. Originally from Newfoundland, Canada, Teresa’s works have received awards and support from the Canada Council for the Arts, British Columbia Arts Council, and Bravo Fact and have presented at international conferences, film festivals and galleries, and have been published in leading journals.

Dr. Connors’s current practice-based research as an Associate Researcher with the International Institute for Critical Studies in Improvisation expands her exploration of nonlinear creative systems and the use of environmental data as a co-creative device for public engagement audiovisual artworks.

Dr. Connors currently lectures at Concordia University in the Music Department, Communications Department, and Cinema, and has previously lectured in creative coding and creative practice at Waikato University, NZ (2014–2016) and instructed singing, piano, guitar and composition at the White Rock School of Music and Dance in BC, Canada (1999–2004).

We are a collective of instrument builders and artists dedicated to the proliferation of experimental music and sound art. We run an open community sound studio in Bangalore where we build instruments, learn and collaborate through workshops, performances and artist residencies.

The Place Where You Go to Listen is a unique sound and light environment created by Grammy and Pulitzer Prize-winning composer John Luther Adams. This constantly changing, never repeating ecosystem of sound and light, tuned to the geophysical forces of Interior Alaska. The composition is guided by the seasons, the time of day, changes in the phases of the moon, and moment to moment fluctuations in atmospheric haze, wind, aurora activity, and Alaska's earthquakes.

Thomas's main goal as a field recordist is to go on long expeditions, record the sounds of nature, and sharing stories from those adventures. His expeditions are often physically demanding and bring together the adventure sports worlds of mountaineering, tree climbing, diving, skiing, and backpacking with the audio storytelling of field recording. Historically, expeditions of this type focus on adventure photography and filmmaking. Instead, Thomas is primarily an adventure field recordist. Thomas dreams of traveling to wild places where he can discover sounds he didn't know existed.

Tristan Louth-Robins is a Tarntanya/Adelaide-based artist and writer whose practice integrates sound art, acoustic ecology, and data science. Central to his work is an exploration of sound's materiality and its capacity for signification, examining how auditory experiences can shape and be shaped by physical, environmental, and technological contexts. His compositions, installations, sculptures, and digital works create focal points and auditory spaces, inviting listeners to engage with sound in ways that explore its associations with physical objects, environments, and contemporary technology.

His work spans a wide range of projects, from experimental music and installation to research-driven collaborations and community engagement. Notable presentations include the Adelaide Festival of Arts, Adelaide Fringe Festival, The National Regional Arts Festival, and international platforms like the BBC (UK) and Acoustic Frontiers (USA). His work has been exhibited at galleries including The Australian Experimental Art Foundation, SASA Gallery, and FELT Space, with sound works featured on international radio stations and compilations.

In 2013, he was the joint recipient of an APRA Art Music Award for Southern Encounter (Country Arts SA, WIRED Lab and associate artists) for Excellence in Experimental Music.

Since 2011, he has led the Fleurieu & Kangaroo Island Sound Map (FKISM), an ongoing acoustic ecology project documenting the unique soundscapes of these regions. Initially focused on the Fleurieu Peninsula, the project expanded to include Kangaroo Island in 2020.

Alongside his artistic practice, he has maintained an active engagement with critical writing, contributing essays and reviews to publications such as Realtime Australia, Resonate, and ADSR Zine.

In recent years, his work has increasingly focused on themes of environmental disruption, artificial intelligence, and the shifting dynamics of human agency within rapidly changing ecological and technological landscapes. These concerns inform both his artistic output and research, reflecting a deepening engagement with the urgent issues of our time.

Tuike Alitalo and Simo Alitalo are sound artists based in Turku, Finland. Their practice involves sound installations based on field recordings, environmental art, writing, participatory performances as well as communal sound performances and listening walks. Exploring the ways places are heard, their work emerges from the central questions of ‘acoustemology’, i.e. acoustic epistemology, questioning, “What do we experience through sound, listening and other auditive practices? How is our knowledge shaped by the things we hear in our surroundings?” Programs made by Simo Alitalo for Radio Broadcasting now in Yle Arena. “Simo Alitalo (b. 1954) has been one of the key players in the Radio Broadcasting and its predecessor the Radio program, which naturally joined Alitalo’s work as a sound artist. Alitalo’s work is humorous, intellectual, cultural-conscious and sound-oriented, while simultaneously and ironically questions the media itself.”

Tyler Kinnear, Ph.D.(he/him) is a career advisor, event organizer, and musicologist. As the assistant director of career engagement and programs, Tyler advises students, specializing in the composition community, as well as coordinates Career Center workshops and boot camps. He is passionate about supporting students as they explore, clarify, and realize their career goals. Tyler meets students where they are and strives to help them craft their stories to be both effective and rewarding in an ever-changing career landscape.

With a background in musicology, Tyler specializes in soundscapes and sound studies. His personal interests include music and the environment, histories and theories of listening, and music and nostalgia. He recently completed a research and pedagogy initiative on campus soundscapes and is cocurator of Resounding Change: Sonic Art and the Environment(Opens in a new window), an award-winning arts exhibition exploring sound in a time of environmental crisis.

Regional branch of the World Forum for Acoustic Ecology.

An open meeting place for the arts, a critical university community of bold innovators and traditionalists. We create a unique environment for growing as artists and strengthen art and its transformative power.

The University of the Arts Helsinki was founded in 2013 when the Academy of Fine Arts , the Sibelius Academy and the Theatre Academy merged.

Vanessa is a percussionist-composer-pianist with a focus on exploratory, ecological sound practices. She makes bold sonic events that propose new futures for 21st century music whether on a rockface, in the bush, building an inhabitable acoustic guitar, or towing a piano along flooded river systems. Central to all her work is listening - opening our ears to paying attention to the world around us as we consider space and place, the human and the more-than-human. Driven by the unknown, her speculative text-based compositions, object-based re-purposing, and deep sonic gatherings stimulate our imagination as we listen in a climate-transforming world.

Her work orbits around broadly around extended approaches, site-specific investigations, minimalist reductions and a visceral sense of embodied play. She has toured the world for 30 years, premiering hundreds of works, musicking with scores of improvisers, presenting work at major international festivals, and sharing her knowledge as a teacher, mentor, researcher, university lecturer and arts advocate.

I am a musician, acoustic ecologist, sound artist and composer. I seek spaces with limited anthropogenic sounds including infrasound interactions. With an ongoing quest for sonic immersion and creative compositional devices with authenticity and inspiration I delve into an organic landscape of sound. I records sounds and create works which open the senses to rarely heard sounds existing within the environment and explore the spaces between hearing music and sound as a cultural experience and the aural vibration, not only within the being but beyond. I am fascinated by questions such as: How do our sounds impact our own beings and how do they impact ecosystems? How does another being perceive but a human may not? Can we attempt to hear the world as it is experienced by a particular organism? How do different animals in the same ecosystem tune into different environmental signals and how are these signals fundamental to their communication and signification? How can we hear beyond the limits of our hearing? My focus is to record, compose with, and feature ever-diminishing habitats and species. Highlighting unique sounds from the micro to the macro, I utilise sounds we rarely or can not hear. I have composed, produced and performed in live concerts, international conferences, solo recordings and videos ranging from chamber music to exploratory work with sound art. I travel the world recording nature’s sounds as well as performing in acoustically interesting environments including Mabolel Rock (South Africa) with a pod of Hippopotami, the Amazon jungle and Antarctica.

Biography - Vicki has developed a collaborative concept with Cornell University’s ‘Elephant Listening Project’ performing in international conferences, as well as National Science Week at Parliament House (Melb) and the Royal Society of Victoria. Vicki has had a number of her works and installations included in International conferences including ISEA 24 and ICMC24. Vicki has composed and performed in a number of collaborative works with Dr Ros Bandt a focus on freshwater environments. She is currently recording and composing for Ocean LAB (with Dr Fiona Hillary and Dr Prue Francis) using sounds from kelp, wrack zone and Great Southern Reef. Vicki has been commissioned to create sound installations for several exhibitions at the National Wool Museum. She created sound design installations for Journey on Wadawurrung Country, recording the oral stories of the Wadawurrung people and sounds of country installed in various locations around Wadawurrung. Vicki travels the world recording nature’s sounds, as well as performing in acoustically interesting environments such as Mabolel Rock (South Africa) with a pod of Hippopotami, and in the deep Amazon jungle. In 2024 Vicki attended an Arts Residency at La Macina di San Cresci (Italy) where she explored sonic spaces and their resonances. She received a Highly Commended in the 2023 Sound of the Year Award.

VIV CORRINGHAM (voice, electronics, field recordings) is a US based British vocalist and sound artist, who has been described as “a vital force in improvised music since the late 1970s” (Corey Mwamba, BBC Radio 3) and “a vocalist of stunning virtuosity” (Louise Gray, The Wire). She makes concerts, soundwalks, workshops and installations. Her practice explores relations between voice, place and walking, responding with sung improvisations to both natural and urban soundscapes. Corringham has received international recognition and awards including two McKnight Composer Fellowships through the American Composers Forum. She is a certified facilitator of Deep Listening, having played and studied with composer Pauline Oliveros. In 2024 this practice took her to Mexico, Spain, Germany and the Listening Academy in Hong Kong. Notable live performances have occurred in festivals at Queen Elizabeth Hall, London, Hong Kong Arts Centre, Fonoteca Nacional de Mexico, Issue Project Room New York and Tempo Reale Florence. Her recent album “Soundwalkscapes” (Vol. 1: January to June) on Flaming Pines label (Bandcamp’s Best Field Recordings 2024) has been well received. The Wire wrote that “Corringham voices the depth of place.” Her definitive contribution to sound art practice is the 20 year ongoing “Shadow-walks”, which create layers of time and space, combining recordings from shared and solo walks along the same path with her improvised sung response. They have occurred in 18 countries, are taught in many sound art classes and have been the focus of articles in books and publications.

Wave Farm is an international transmission arts organization driven by experimentation with the electromagnetic spectrum. We cultivate creative practices in radio and support artists and nonprofit organizations in their cultural endeavors.

Based in New York’s Upper Hudson Valley, Wave Farm is a media arts center, media platform, and arts service organization. Wave Farm offers interdisciplinary outdoor installations, residencies and fellowships, and a research library. We operate FM radio station WGXC and host many online radio channels. Wave Farm provides fiscal sponsorship, consultation, and grants to artists and organizations.

I am a sound artist and acoustic ecologist based in the Granite Belt of South-East Queensland, but currently living and working in Cumbria, UK. My work is focussed on producing curated soundscapes that reflect the rich tapestry of Country. My compositions aim to be immersive experiences that invite listeners to engage deeply with the landscape around them through sound.

As part of the artist collective Hopeful Disruptions, I collaborate with fellow core creatives Debbie Taylor, Tracy Pateman, and Rochelle Summerfield to explore innovative ways of engaging with the world around us through sound. This collective ethos enriches my work, fostering a spirit of experimentation and community involvement. With a focus on biodiversity, sustainability and environmental awareness, my soundscapes aim to raise consciousness about the beauty and fragility of the natural world.

My interest in acoustic ecology allows me to blend artistic response with scientific inquiry, affording a unique perspective on how sound interacts with the environment and the pivotal role humans must play in protecting the biodiversity of our natural environment. I aim to encourage people to pause, listen, and appreciate the intricate sounds that define our landscapes - and then think about what they can do to preserve them.

Yiannis G. Matsinos is a Professor in the Department of Environment University of the Aegean (Lesvos, Greece) since 1997. He holds a PhD from the University of Tennessee (Knoxville), on theoretical Ecology, a M.Sc., on BioMathematics (University of Tennessee, Knoxville) and a B.Sc. on mathematics from the National and Kapodistrian University of Athens. His fields of research expertise are, Acoustic Ecology, Soundscape Ecology, Ecoacoustics, Computational Ecology – Mathematical Modelling, Risk Assessment, Statistical and quantitative methods for wetland management (Everglades NationalPark), Landscape Ecology, Mathematical Biology, Quantitative Conservation Ecology, Development and application of individual based models in Population Biology, Dynamical Systems Theory and Modelling for Sustainable Tourism. His teaching and professional experience regards Structure, Dynamics and Management of Ecosystems with emphasis on Statistical methods.

Κάθε τόπος έχει μια ξεχωριστή ακουστική ταυτότητα η οποία διαμορφώνεται από τους ήχους που παράγονται σ’ αυτόν εξαιτίας της μορφολογίας, των φυσικών φαινομένων και των δραστηριοτήτων των ζωντανών οργανισμών. Παράλληλα το σύνολο των ήχων αυτών επηρεάζει, άμεσα ή έμμεσα την συνείδηση και τον τρόπο έκφρασης των ανθρώπων που φιλοξενεί (κατοίκων ή επισκεπτών).

Θεωρώντας ότι ο Ήχος είναι κάτι που μας συνοδεύει, είτε σαν αίσθηση, είτε ως ανάμνηση, σε όλες μας τις δραστηριότητες, πριν ακόμη από τη γέννησή μας, προκύπτει μια άρρηκτη σχέση μεταξύ περιβάλλοντος και πολιτιστικών γνωρισμάτων ενός τόπου, η οποία αποτυπώνεται εύστοχα στην φράση του Οδ. Ελύτη για το “ποιητικό” έργο του Αλ. Παπαδιαμάντη:

“Στην Ελλάδα, ένα ευαίσθητο παιδί μεγαλωμένο πλάι στη θάλασσα έχει την αίσθηση της ακοής τρισδιάστατη. Στη μια πιάνει τους αγέρηδες και τον παφλασμό των κυμάτων’ στη δεύτερη, την ελληνική λαλιά στην αρχική της φθογγολογική σύσταση’ στη τρίτη, τον κόσμο των νοημάτων, από της Ιωνίας τους καιρούς και δώθε. Μια τέτοια ταυτόχρονη εγγραφή προλαβαίνει, πριν από τη συνείδηση, να αποτυπώσει περιοχές ολόκληρες, που αργότερα, πολύ αργότερα (όπως στην εμφάνιση ενός φωτογραφικού στιγμιότυπου), βλέπει κανείς να διαγράφονται μπροστά του.” (“Η μαγεία του Παπαδιαμάντη”, 1976)

Η μελέτη της δυναμικής αυτής σχέσης είναι το αντικείμενο της Ακουστικής Οικολογίας και η αφορμή για την σύσταση της Ελληνικής Εταιρείας Ακουστικής Οικολογίας (ΕΕΑΟ) που δραστηριοποιείται προς αυτήν τη κατεύθυνση και εκπροσωπεί το Παγκόσμιο Φόρουμ για την Ακουστική Οικολογία (World Forum for Acoustic Ecology – WFAE) στην χώρα μας.

καλές ακροάσεις

日本サウンドスケープ協会は、サウンドスケープという考え方を通して「音の環境」に興味を持つ研究者、アーティスト、行政関係者、教育者、企業、そして生活者の情報交流、意見交換を目的として1993年に設立されました。 背景には日本の豊かな聴覚文化と、カナダのR. マリー・シェーファーから発信されたサウンドスケープ概念が日本文化との高い親和性を持って受け入れられてきたという事実があります。北海道から沖縄県の全国にわたる会員が、多様な活動を展開しており、サウンドスケープに関する国際会議「World Forum for Acoustic Ecology (WFAE)」においては、日本の代表組織として登録されています。
(詳細はこちら)