 Leor Galil of The Chicago Reader recently penned an essay on MSAE Board Member Norman W. Long, chronicling his evolution from a clarinetist to a sound artist deeply engaged with field recordings, ecology, and experimental music. Long's journey spans decades, shaped by academic pursuits in art and landscape architecture, and his innovative soundwalks, particularly at Chicago's Big Marsh Park. Drawing from diverse influences like bell hooks and DJ Spooky, Long integrates ecological awareness and community engagement into his practice. His work fosters connections and inclusivity in experimental music, amplifying voices of underrepresented communities.
Read the full article at the link below. “Pantha Rhei on the Rhine” is an artistic and scientific research project designed to express the latent metaphors and materials carried by the River Rhine. As one of Europe’s largest and most important waterways, the Rhine features massive complexity of enmeshed industrial, cultural, and ecological systems conditioned by international politics, histories, and economics.
The project will commission narrative sound art works about different parts of the River Rhine. They are composed in part with a sound library compiled from the river itself. The sound artworks can be considered as radio plays. They will be played in sequence at the listening sessions to tell a story of the Rhine at each of our partnering institutions the Museum Rehmann in Laufenberg, Switzerland (headwaters of the Rhine), the University of Antwerp Ecosphere’s Mesodrome, a large-scale river simulation facility (the abstracted middle), _V2 Lab for Unstable in Rotterdam, the Netherlands (end of the Rhine into the English Channel and Atlantic Ocean). “Pantha Rhei on the Rhine” focuses on fostering a techno-poetics that meaningfully links scientific data with poetics drawn from art and art history. Pantha Rhei is Heraclitus’ ancient dictum that “everything flows,” summarizing his famous fragment that “no man ever steps in the same river twice, for it is not the same river and he is not the same man.” The production of the commissioned artworks will be supported with scientific input from University of Antwerp’s Ecosphere group and artistic input from Studio Haseeb Ahmed. Submissions are due on Dec 20 2024. More information is available on the link below:  Following discussions with the WFAE community across 2023 and 2024, the WFAE Executive is proposing a governance restructure of the organisation.
This restructure is motivated by a desire to increase inclusion and diversity in the WFAE's oversight and operations, as well as resolve issues around decision making quora as the organisation continues to grow. Key changes include the election of Board members sourced from the general membership, a new Advisory committee (comprised of WFAE Affiliate Representatives and previous WFAE Executive members) and several new Action Committees (following from recommendations of the recent Acoustic Ecology Global Survey). Additionally, the category of Associate Membership would be dissolved, with an alternate membership model of Affiliate Member, Individual Member and Subscribers proposed. The WFAE Executive seeks feedback from the WFAE community around these proposed changes. Feedback is due by Friday 20 December 2024. More information and opportunity to comment on the proposed model can be found at the link below.  Remembering R. Murray Schafer
Tuesday November 26 2024, 12:15-12:45pm First United Church Noon Hour Series King St/William St, Waterloo, Ontario, Canada Performed by Inshallah, with Debbie Lou Ludolph, conductor Free Concert From the composer: "I started writing Silence to Silence in Algonquin, shortly after the death of R. Murray Schafer in 2021, my mentor who changed my life indelibly, to whom it’s dedicated. Rae Crossman, nature-loving, mystical Waterloo poet, wrote the text for this piece, and Debbie Lou Ludolph, founder and life-giving spirit of Inshallah, graciously agreed to have the choir Inshallah perform it! Because of covid, it is now finally receiving its premiere!"  23–26 September 2025, Ljubljana, Slovenia
Submissions due 10 February 2025 Building on the 2023 Beyond Listening: Agency, Art, and the Environment symposium in Budapest and the rich range of subjects discussed there, we invite you to submit a proposal in response to this open call for a follow-up event in Ljubljana (Slovenia) in 2025. How can we escape from listening paradigms that are based on expansive, colonial, violent, and extractivist approaches? What can we learn from current ethical and political applications of acoustic ecology, acoustic anthropology, and bioacoustics? What can we, as sound artists, scholars, activists, and listeners, do beyond simply witnessing another wave of reports on declining biodiversity and the ongoing collapse of our planet’s systems? How can these ever more tangible transformations taking place on a planetary scale be addressed locally and collectively, beyond the act of listening? Addressed in Budapest, these and similar questions remain relevant. Therefore, we invite scientists, philosophers, activists, artists, and others to continue listening-with these questions, rethinking them in a manner of being-with, and reposing them through walking-with, while focusing on changes that accompany our everyday lives, but also those that are less obvious and only surface as time passes. We are looking for topics that address the potential of sonic ecology in these areas: • Walking-with changes: rethinking walking as a method of inquiry, approaching listening-with your feet, soundwalking; • Listening-with and beyond disciplines: employing the convergence of art, science, and technology in sonic ecosystems; • Staying-with solastalgia: experiencing distress induced by environmental change in our home environment; • Resonating-with lessons learnt from listening to the Anthropocene, addressing inequality, discrimination, and social justice; • Being-with other-than-human sonic environments (ecoacoustics and bioacoustics) and engagement with environmental activism; • Rethinking-with local and regional, historical and contemporary epistemologies and ethics of environmental awareness. We welcome proposals for papers, presentations, peripatetic lectures, performative lectures, and other unconventional formats to be presented in person at the symposium. We especially encourage challenging, innovative—even provocative— contributions which go beyond traditional formats of papers and talks that dominate academic conferences and symposia. In the selection process, we will prioritise experimental, engaging, and hands-on proposals. We envision the symposium as a place for thorough and significant engagement with and dialogue about the issues that are in our collective interest. For more information, visit the link below: |
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