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"Sound art has an identity crisis. Trapped between experimental music and traditional art mediums, it suffers from inaccessibility and an elitist, academic "cost of entry" requirement in order to connect with works in the contemporary art canon. With the recent passing of sound artist Alvin Lucier, the only hope for the future of sound art is in uplifting the outliers who push towards creating new conceptually rooted work rather than continuing to reward artists who glorify technology at the expense of providing approachable entry points."

"Howard Gardner's work around multiple intelligences has had a profound impact on thinking and practice in education - especially in the United States. Here we explore the theory of multiple intelligences; why it has found a ready audience amongst educationalists; and some of the issues around its conceptualization and realization. "

"CAMPBIENT is an annual sound art residency that brings together 22 people for 44 hours to conceptualize, produce, and record two sound art compositions in a natural setting. Participants are randomly split into two groups, each responsible for one side of the record, with the only caveat being that a contiguous field recording base track is audible throughout the piece. "

On the seventieth anniversary of the first performance of Cage's 4'33", this issue of Australian Humanities Review features a collection of essays by authors from a range of humanities disciplines who have been willing to adventurously think about, theorise or creatively experiment with the legacy of Cage's work, which, whether praised, censured or misunderstood, has had an undeniable influence on the music and performance that came after it. In the time since its first performance, the aesthetic, cultural and conceptual reach of Cage's 4'33" has been immense. Cage's experimental oeuvre (music, writings, teaching) is internationally significant, having been exported from America to the world, including Australia. The special section includes short essays by Shayne Bowden, Rachel Campbell and James Hazel Maher, Kim Cunio, Dieter Daniels, Richard Elliott, Daniel Fishkin, Mack Hagood, Peter Jaeger, Douglas Kahn, Caleb Kelly, Sally Macarthur, Julian Murphet, David Toop, Shelley Trower and Stephen Whittington.

Podcasts surveying the history of sound collage since the begining. The program mentions three types of sound collages. Sequential sound collage that uses an editing technique that is not dissimilar to film editing technique which later developed to Electroacoustic and Acousmatic music. (most Musique Concréte, cut ups, Negativland, Cassetteboy etc) Sound collage that augments a particular rhythm, musical and narrative theme (some hip hop, bastard pop, 2manyDJs, dancefloor mash ups, most music that has elements of sound collage) Simultaneous sound collage which superimposes layers of different musical sources over each other. The last category is the one this podcast focuses on for the latter half of the 20th Century until today. Warning:: PART ONE is a bit more of a difficult listen due to the experimental and conceptual nature of the sound collages in the early days."

"Ultra-red pursue a fragile but dynamic exchange between art and political organising. Through the performance of a militant sound investigation, the audio collective map contested spaces and histories as an articulation of social relations. Drawing on the formal strategies of early Conceptualism, We Come from Your Future facilitates a particular kind of discursive action whose performance of announcing and denouncing constitute an intervention. We Come from Your Future is comprised of two episodes in which Ultra-red ask, "What are the sounds of anti-racism?" Posing this question in the context of anti-racist and migrant organizing in the UK, the first episode features a set of dispatches that combine audio compositions with accompanying field reports. These online dispatches lead up to and inform an on-site event as part of the Triennial Prologues: Altermodern at Tate Britain on June 28. "

"Conceptualizing sound in geologic terms is a daunting task. Both the geologic and the sonic are time-based media, defined by duration. Yet sound speaks in milliseconds, the geologic in eons. They exist in different time zones. So, given this conundrum, instead of considering how to measure sound within a geologic scale, perhaps we are better served to ask: What do geologic materials sound like or, more precisely, what do geologic materials hear? This latter question might seem ridiculously anthropomorphic, given that we are talking about material objects. So let us first consider what exactly sound and hearing are."

"Conceptually the film was a joy to work on as sound designer, as the premise was essentially a musical conversation between Richard, the instruments, his musical collaborators and the New Zealand landscape, beautifully filmed by Alan Bollinger and sympathetically edited to allow room for the music & sound to fully engage. And thanks to a beautiful mix by Mike Hedges & Tim Chaprione at Park Road Post, I think the film achieves the admirable goal of experiencing the world of its music, rather than just observing it."

"This article presents a unifying theory of soundscape ecology, which brings the idea of the soundscape-the collection of sounds that emanate from landscapes-into a research and application focus. Our conceptual framework of soundscape ecology is based on the causes and consequences of biological (biophony), geophysical (geophony), and human-produced (anthrophony) sounds. We argue that soundscape ecology shares many parallels with landscape ecology, and it should therefore be considered a branch of this maturing field. We propose a research agenda for soundscape ecology that includes six areas: (1) measurement and analytical challenges, (2) spatial-temporal dynamics, (3) soundscape linkage to environmental covariates, (4) human impacts on the soundscape, (5) soundscape impacts on humans, and (6) soundscape impacts on ecosystems. We present case studies that illustrate different approaches to understanding soundscape dynamics. Because soundscapes are our auditory link to nature, we also argue for their protection, using the knowledge of how sounds are produced by the environment and humans."

"I first encountered Guidonian hands as an extension of my interest in graphic scores from the 20th century avant-garde. Beyond their shared use of drawing, and inherent beauty, the two have few conceptual links. Guidonian hands were a medieval mnemonic device (a system of learning aiding retention) designed to assist singers sight-sing (the sung realization of prima vista, or sight-reading). Their development is generally credited to an 11th centruy Italian music theorist named Guido of Arezzo, though the graphic use of the hand as a musical guide long predates the development of his technique. Within a Guidonian hand, each section of the hand indicated a specific note within the hexachord system (six-notes), over three octaves. In the absence of a score, once the graphic hand was memorized by a singer, a conductor would need only point to a series of notes on their hand. They are a fascinating fragment from the development of Western theory, as well as being objects of sublime beauty."

"Over the past 40 years "sound art" has been hailed as a new artistic category in numerous writings, yet one of its first significant exhibitions is mentioned only in passing, if at all. The first instance of the hybrid term sound art used as the title of an exhibition at a major museum was Sound Art at the Museum of Modern Art in New York (MoMA), shown from 25 June to 5 August 1979. Although this was not marketed as a feminist exhibition, curator Barbara London selected three women to exemplify the new form. Maggi Payne created multi-speaker works that utilized space in a sculptural fashion; Connie Beckley combined language and sounding sculptural objects, showing sound in both a conceptual and physical manifestation; and Julia Heyward's work used aspects of feminist performance art including music, narrative, and the voice in order to buck abstract aesthetics of the time. This paper uses archival research, interviews, and analysis of work presented to reconstruct the exhibition and describe the obstacles both the artists and the curator encountered. The paper further provides context in the lives of the artists and the curator as well as the surrounding artistic scene, and ultimately exposes the discriminatory reasons this important exhibition has been marginalized in the current discourse."

""Sound maps contain sound records associated with specific geographical points. They are indicated on the map by visible markers through which you have access to playback controls for sound recordings, often they are accompanied by content in the form of texts and images. They tend to be collective and collaborative projects, possibly because they represent territories and regions that are home to communities that are frequently constituted in terms of observation. These often become fundamental factors regarding conceptualizations and content that the maps incorporate, which is why their participation becomes important, as well as for the production of audible and informative content that the map includes.""

In the decades following World War II, the musical score emerged as a unique and powerful medium for experimental art. A new movement of visual artists, composers, poets, and performers reimagined the score-traditionally defined as the written representation of a musical composition-as a tool for structuring experimentation in the nascent fields of performance art, conceptualism, and intermedia. They drew inspiration from unconventional musical notations devised in the early to mid-1950s by the composers Earle Brown, John Cage, and Morton Feldman. The new movement's use of experimental scores spread during the 1960s through publications, festivals, concerts, classrooms, networked correspondence, exhibitions, happenings, and a renewed awareness of score-like antecedents in the charts, diagrams, sketches, and written instructions of earlier avant-gardes, from Dada and Surrealism to the Bauhaus. By the later years of the 1960s, diverse communities of artists, musicians, poets, and dancers had transformed the possibilities of the score into an ever-expanding universe of textual, symbolic, and graphic marks. They used experimental scores to stage a multitude of practices that dismantled and recast the traditional boundaries of artistic media.

Infrasonica is a digital platform of non-Western cultures. We record, analyze and debate the eeriness of sound and its auras, linked to the world with the audible, the hidden and the sensitive. Infrasonic waves operate at a frequency that is undetectable by human ears even though they are often generated by massive ecological phenomena, such as the movement of tectonic plates or the deep currents of the ocean. Infrasonica aims to be a catalyst for those vibrations. The platform includes archives of experimental sound and visual artists, as well as theoretical musings on contemporary critical thought. By relying on a borderless network of collaborators, Infrasonica blends essays, conversations and speculative works that encourage critical curatorial and research projects.