​​Volume 17 celebrates the 20th anniversary of the Australian Forum for Acoustic Ecology and profiles the incredible diversity of acoustic ecology practice and research happening across Australia. The three feature articles showcase established Australian practitioners who are pushing the boundaries of sound and interrogating our sonic relationship with place. Volume 17 is dedicated to AFAE founder Nigel Frayne and features a tribute to his life and work from Hildegard Westerkamp.  ​

Volume 18 brings together research from the WFAE’s UK and Ireland Soundscape Community (UKISC) affiliate with guest editor Dr Rob Mackay, an award-winning composer, sound artist and performer who works in a highly interdisciplinary context. This edition highlights selected papers from ‘Sound + Environment 2017’ – a conference hosted at the University of Hull that brought together artists and scientists to explore the ways that sound can deepen our understanding of environments. ​

I am sorry to inform you that Andra McCartney died on October 17, 2019.

Obituary:
https://www.tributearchive.com/obituaries/8252743/Andra-McCartney
https://hendrenfuneralhome.com/tribute/details/4657/Andra-McCartney/obituary.html

Funeral Service
1:00 pm - 2:00 pm
Saturday, November 23, 2019
Norwood United Church
4264 Highway 7
Norwood, Ontario, Canada

For those who haven't had the opportunity to know Andra and/or admire her work, she delved deeply into the experience and meaning of listening and noise. Andra's blog remains an important and online resource on this key experiential method of soundscape study and public engagement.

In Koli, Finland (2010) and in Laval, Quebec for Audio Parc (2012) I had the good fortune to meet Andra. We led soundwalks in Laval thanks to Galerie Verticale and Magali Babin. Andra's scholarly activism on Hildegard Westerkamp's soundwalking practice, soundscape composition, electroacoustic music, and Schafer's "hi-fi/lo-fi" distinction remains accessible on the Soundwalking Interactions blog.

With David Paquette, Andra translated into English an updated version of  À l'écoute de l'environment. Répertoire des effets sonores by Editions Parathenthèses (Sonic Experience: A Guide To Everyday Sounds), originally published in 1995 by Jean-Francois Augoyard, the founder of the Centre de researche sur l'espce sonore et urbain (CRESSON Ambianes architecturales et urbaines).

"Listening to Traffic with Guts and Antennae" is Andra's chapter for the new (2019) book, Sound, Media, Ecology. Her practice-based scholarship, along with this new book, are indubitably important contributions for acoustic ecology, providing in depth discussion and comprehensive ideas through soundscape studies, including ideal notions of what desirable acoustic environments may be constituted.

Sincerely,
Eric Leonardson
President, WFAE

WFAE President Eric Leonardson is honored to present in the first meeting of Red de Ecología Acústica_México / Acoustic Ecology Network_Mexico (REA_Mx) taking place on 21–23 October, 2019 at Fonoteca Nacional in Mexico City. This international conference is framed within in a week entitled Jornadas Sonoras 01, from October 21 to 26, hosted by the Department of Arts and Humanities of the Autonomous Metropolitan University (UAM).

REA_Mx is a new network conceived as “a space that brings together academics, professionals, creators and students, interested in the social, cultural, ecological and scientific aspects of Mexico’s sound environment.” REA_Mx seeks to become an affiliated organization of the World Forum for Acoustic Ecology (WFAE).

Jornadas Sonoras 01 includes the launch of Leonardo Laser Talks Mex with the International Society of Arts, Sciences and Technology (ISAST), followed by II Coloquio Internacional Espacio e Inmersividad (2nd International Colloquium for Space and Immersivity).

The WFAE Online Library is currently rebuilding its library of global perspectives on acoustic ecology. The WFAE is making a call for more submissions, as announced on the WFAE newsletter in October 2018.

We invite both WFAE Affiliates and Individual members to submit publications, projects, conferences and other media for inclusion in this database. You are welcome to submit more than once to each category. 

To learn how to become a WFAE member, please visit our Membership Page. Please note submissions in English are preferred, but we will accept submissions in any native language of our affiliate organizations.  

The online submission form is at:
https://www.wfae.net/librarysubmissions.html .

The deadline for the next round of publications is 1 June 2019 (it will continue as an ongoing process after that).

We invite all WFAE  Affiliates and Individual members to promote this Call for submissions to the WFAE Online Library to your networks. 

Thank you for your collaboration. We look forward to refreshing the library and making it available.

Stéphane Marin has kindly donated the 2018 proceeds of the "Each Morning of the World" project to the WFAE. To express our appreciation, the WFAE has given him a free one-year membership. Thank you Stéphane, and we wish continued success for "Each Morning of the World." 

Video documentation of days 1 and 2 of The Global Composition 2018 Conference is now available on YouTube.

Claude Schryer (Canada)
@ssoundscapes, claude@simplesoundscapes.ca
 
I was one of the founders of the World Forum for Acoustic Ecology (WFAE) at the Banff Centre’s Tuning of the World Conference in 1993 (TOTW1993) and was honoured to participate as a facilitator at The Global Composition 2018 (TGC2018). I mentioned at the opening event of TGC2018 that it was the interdisciplinary and exploratory nature of acoustic ecology that motivated me to help create the WFAE. Much has been accomplished by the WFAE over 25 years – thanks are in order - but what comes next? One of the goals of TGC2018 was to take stock of these 25 years of activity and to lay groundwork for future generations...
 
Some personal highlights and thoughts from TGC2018:

• Recalling the early history of the WFAE: 1991, first World Soundscape Project newsletter; 1993, founding of an international coalition of acoustic-ecology specialists at Tuning of the World and 1998, Stockholm Hey Listen! conference with the creation of national affiliates and the Soundscape Journal

• Acknowledging WFAE trailblazers, notably Nigel Frayne, Hildegard Westerkamp, Peter Grant, Gary Ferrington and Gayle Young and pioneers in the community such as the WFAE life member Walter Tilgner (attributed October 6, 2018)

• Remembering that the World Soundscape Project addressed noise issues by encouraging listening, analysis and new modes of design and that we now need to encourage the next generation to tackle acoustic ecology on their own terms and to adapt core concepts to new realities

• Encouraging ongoing dialogue about what is relevant in acoustic ecology, such as increasing accessibility, diversifying voices, mobilizing knowledge, rethinking the concept of noise, retooling listening, increasing networking opportunities, better communication of core messages, coordination of volunteers to undertake tasks, etc.

• Exploring emerging concepts, such as queering sound space, crafting 3D audio, connecting sound in a synthetic ecology, criticizing romanticism in soundscape studies, rethinking stereotypes in gaming … and sharing these findings broadly

TOTW1993 was an initial mobilisation of the global acoustic ecology community, whereas TGC2018, and other similar events, are steps towards broadening this community into a listening and sounding culture.

 Juliana Carla Bastos (Brazil)
@laboratoriodesons, julianacarlabastos@gmail.com
 
Gathering the discussions and yearnings of three generations of acoustic ecology scholars, the The Global Composition 2018 (TGC2018) was an opportunity to broaden and deepen our understandings on the diversity of listening, an experience framed by the impressive silence of the Mediencampus of Dieburg.
 
Some aspects evoked during the four days of TGC2018 that are worth mentioning are:

• How the Global North/South situation stood during the plenary sessions and also in the papers highlighting features, tendencies and gaps on valuation and legitimization of listenings closely connected to historical, cultural, political and human aspects of each country/region participating in the event.
• To consider the participation of scholars of urbanism as potential allies in the maturation and constant resignification of the global acoustic ecology studies.
• In order to extend the applicability of the Schaferian legacy, it is necessary to consider listening more as a politicized act: an invitation for acoustic ecologists to contemplate what is done with this listening. This goes through the comprehension of symbolic and decolonial dimensions, trans-sonifying the act of listening from a mere act of servitude and/or curiosity into a tool that facilitates the constitution and maintenance of holistic consciousness.
• Finally, including contemporary gender discussions and reports of victims of noise pollution, among others, opens space for unique and important opportunities to learn about the specificities of listening and helps scholars in the area to use and resignify scientific instruments in order to capture, understood and show good and real results.

 
These are some notes on the TGC2018 that aim not only to contribute to the acoustic ecology initiatives initiated in Tuning of the World 1993, but also to discover ways of approaching the area in a diverse world and in need of discussions and studies about the sonorous that surrounds us and defines us as human beings.

The 2018 Conference of The Central European Society for Soundscape Ecology (CESSE) will be held November 28 - December 1, Budapest, Hungary. The CESSE proposes to established a new Central European WFAE Affiliate Organization. Click here for more information.