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Acoustic Ecology Review is an international journal and publishing platform for the World Forum for Acoustic Ecology and the international sound studies community. Acoustic Ecology Review (AER) is the evolution of Soundscape - the Journal of Acoustic Ecology, which has been the leading international journal for acoustic ecology research since 2001. Acoustic Ecology Review extends and enhances the work of Soundscape to publish accessible and inclusive research in various digital formats, including audio and video. AER is a place for listening, dialogue, and debate. This international peer-reviewed publishing platform is available to all WFAE members and scholars of the global acoustic ecology community. Acoustic Ecology Review is launching with the proceedings of 'Listening Pasts, Listening Futures', the 2023 World Forum for Acoustic Ecology Conference as the first edition. From March 23-26, 2023, the WFAE hosted its 30th anniversary with an international conference at the Atlantic Centre for the Arts in Florida, located near the Canaveral National Seashore, on the unceded lands of the Seminole people. The conference brought together a global cohort of over one hundred artists, academics, authors, students, and community engagement specialists in person and online to learn collectively from the past and imagine new futures based on a diversity of listening practices and acoustic relationships in our worlds. The conference proceedings have been co-edited by Milena Droumeva and Lindsey French, who have done a wonderful job curating this exciting body of research. As Milena and Lindsey have noted in their introduction to the proceedings, acoustic ecology has matured and moved in critical and prescient directions along with new diversities of voices in the field. These proceedings feature common themes around the ethics of field recording, feminist and queer methodology frameworks in thinking about place, pedagogical innovations, kinship, decolonisation, and radical art practices. It is an inspiring collection of articles and provides an excellent insight into the future direction of the journal.
I want to express particular thanks to Milena Droumeva, who is Glenfraser Endowed Professor in Sound Studies at Simon Fraser University, for facilitating a new partnership between the World Forum for Acoustic Ecology and Simon Fraser University to host the journal. The development of Acoustic Ecology Review on OJS (Open Journal Systems) was generously supported by the World Soundscape Project Educational initiative, led by Hildegard Westerkamp and Barry Truax. This support enabled WFAE Secretary Jesse Budel to assist in establishing the journal and launching the first edition and we are extremely grateful for his diligent work and support. Acoustic Ecology Review will enable more inclusive and accessible ways for the global acoustic ecology community to publish and share research. AER will be publishing editions of Soundscape: The Journal for Acoustic Ecology, conference proceedings of WFAE and those of WFAE Affiliate conferences, special editions, and independent articles. We will soon issue a call for an edition of audio papers, and we are very excited about working with a digital platform that enables us to publish in sound. The publication is conceived as a forum for communication and discussion about interdisciplinary research and practice in the field of Acoustic Ecology. It focuses on the interrelationships between sound, nature, and society. The journal seeks to balance its content among scholarly writings, research, and an active engagement in current soundscape issues, both in and beyond academia. As part of this evolution of the journal, we welcome new members to our editorial boards. We are currently calling for submissions for special editions, senior editors, and associate editors for 2024-2025. Associate editors can expect to review 3-4 submissions per year, and senior editors will also be engaged to review special edition proposals, mentor associate editors, and assist in the strategic direction of Acoustic Ecology Review by participating in quarterly meetings with the editorial team. We will also provide feedback and support for proposals for guest editions which in some instances will encourage guest editors to collaborate and combine their thematic proposals, fostering continued dialogue and collaboration among WFAE affiliates and offering opportunities for Early Career Researchers. Please do not hesitate to contact us with any questions, and we welcome your contributions and feedback in this exciting new phase for publishing and sharing the work and research of the global sound community through the World Forum for Acoustic Ecology. Please enjoy the first edition of Acoustic Ecology Review and have a wonderful festive season. Leah Barclay Soundscape Editor in Chief WFAE Vice President Dear all, Welcome to the November newsletter of the World Forum for Acoustic Ecology, which features a reminder about the global survey of acoustic ecology activities, affiliate newsletters, invitations for different events, colloquiums and symposiums, and more!  Global Perspectives in Acoustic and Sound Ecology: A Survey of Diverse Contributions This is a kind reminder about the global survey of acoustic ecology activities, developed by Dr. Mickey Vallee (a Canadian Association for Sound Ecology (CASE) director), which will serve as a pivotal tool for comprehending current and forthcoming trends within the realm of acoustic ecology. Here is the Google Form link to the survey: As we approach the December 1 2023 deadline, it is crucial that we maximize our efforts to ensure widespread participation and engagement from our members. All voices and perspectives are extremely important in shaping the future of our organization and its endeavors. By sharing experiences, perspectives, and expertise, members will actively contribute to the creation of a more holistic and inclusive representation of the global work in the domain of acoustic and sound ecology. Additionally, we would like to encourage you to contribute regular information about your own initiatives and projects, helping us to establish a more dynamic and interconnected global communication network within our community. This will enable us to disseminate newsletters that highlight the latest news in the field of acoustic ecology worldwide. Thank you in advance for your time and contributions. Your dedication to advancing the field of acoustic and sound ecology is deeply appreciated. Warm regards, Raquel Castro WFAE President  WFAE Treasurer Callout The WFAE is seeking Expressions of Interest for position of Treasurer on the WFAE Executive effective immediately. Financial members of WFAE Affiliate Organisations and WFAE Individual Members are eligible to submit an EOI. Potential candidates should familiarise themselves with the WFAE Bylaws prior to submitting an EOI. The position description is available under the hyperlink below.  Support the WFAE Library Hosted on Librarika, the WFAE Library consists of catalogue entries to various resources related to the fields of acoustic ecology, sound studies and ecoacoustics. As our library grows (750+ items, and hundreds of searches a day), we seek your contributions and support in diversifying and sharing this trove of information. Submissions for catalogue items can be made via the Submissions links on the WFAE website.  Colloquium Sound & Sensory Studies with Holger Schulze Be it sound art-pieces, academic articles, blogposts or a PhD-treatment, an artistic research proposal: in this biweekly research colloquium we immerse ourselves in discussing new approaches to sound studies. Part of the interdisciplinary Research Group Sound & Senses we invite all researchers, artists, students or listeners to take part and to propose topics and materials for our future meetings. As a collaborative workshop this meeting provides an opportunity for researchers of all levels (experienced scholars as well as PhD-/MA-students or artistic researchers) to discuss their approaches from various interdisciplinary fields with a special sensibility concerning sound. TIME: biweekly on Zoom - 3:15pm-4:30pm This event is running until 5 December 2023. It is next occurring on 21 November 2023 15:15.  Tsonami 2023 Festival The XVII edition of the Tsonami Festival, in Valparaíso, Chile, this year 2023 presents an intense radio and on-site program with more than 100 participating artists. This version is structured on the basis of month-long residencies in the city of Valparaíso, where six collectives from Latin America and the world have been conducting research and projects focused on the sound dimension and listening in the territory. In addition, the festival simultaneously has a radio dimension, with a continuous streaming signal through www.radiotsonami.org, 24 hours a day, with works created for the festival, premieres, live broadcasts and pre-recorded works. The program also includes a series of on-site activities carried out by the collectives and guest artists where you will be able to attend each day of the event. We invite you to review the program in detail, follow them on Radio Tsonami and attend the events of this XVII edition of Tsonami that will take place between Saturday, November 25 and Friday, December 1, 2023.  Online Webinar Course in Soundscape Composition by Barry Truax Barry Truax invites individuals who have access to an 8-channel sound system, along with teaching studios with the same format, to participate in his upcoming Special Topics course in Soundscape Composition this coming term, from January to April 2024. The course will start Wednesday Jan. 10 and go through to April 3, with a weekly two and a half hour Zoom meeting starting at 10:30 Pacific time, which translates to 8 hours later in the UK/Portugal and 9 hours later in Central Europe. There will be a two week break in February (Feb. 14 & 21), so 11 meetings in total in which Barry will survey the theory, history and emerging practice of soundscape composition. There is no course fee. If you're interested, contact Barry Truax for more info and registration: [email protected]  Workshop Sonic Meditations with Blanc Sceol Saturday, December 09, 2023 3 pm CET at ZKM | Center for Art and Media Free entry Language: English
Dear all, My publication "Die Ordnung der Klänge. Eine Kulturgeschichte des Hörens" will soon be published in a second, revised edition by Schott Music/Mainz. On this occasion, I cordially invite you to a book launch. It will take place on Friday, December 8, 2023, 6 p.m., in the lecture hall of the ZKM Karlsruhe (Center for Art and Media, Lorenzstraße 19, 76135 Karlsruhe). - It would be wonderful if you could be there! The presentation is embedded in the Giga-Hertz-Festival for electronic music and sound art 2023: 8.12. 2023, 18.00 - 19.30: Book presentation The future viability of acoustic ecology On the new edition of R. Murray Schafer's "The Order of Sounds", presented by Sabine Breitsameter. The Canadian composer and audio educator R. Murray Schafer coined the term "acoustic ecology" in the late 1960s. His book with the untranslatable title "The Tuning of the World", published in 1977, embeds this concept in cultural history and is one of the most influential publications in the field of "sound". At the end of 2023, the German translation of this book was republished by Schott Music under the editorship of Sabine Breitsameter with an up-to-date, detailed introduction. Breitsameter will present the new publication and identify which aspects of Schafer's acoustic ecology are of particular importance for the future of art, everyday life and media. Speakers: Sabine Breitsameter, Berlin/Darmstadt Christian Müller, editor, Schott Music, Mainz Sabine Breitsameter: Curator, author, director, dramaturge esp. for the cultural radio stations of ARD, EBU as well as in Australia and North America, focus: electroacoustic art forms, cultures of the auditory. 2004-2008: Visiting professor for experimental sound design and co-founder of the master's program "Soundstudies" at the Berlin University of the Arts. Since 2006 she has been teaching and researching as Professor of Sound and Media Culture at Darmstadt University of Applied Sciences. There she heads the Master's program "International Media Cultural Work (IMC)", which she founded. R. Murray Schafer, The Order of Sounds. A Cultural History of Listening, translated and newly edited by Sabine Breitsameter, with a new, introductory essay by the editor, 2nd revised edition, Schott Music/Mainz 2023. Best regards, Sabine Breitsameter  Novas Frequências Festival Since its first edition in 2011, Novas Frequências has been an international festival that promotes experimental music, avant-garde music, and sound art, seeking to reframe the relationship between art and the city of Rio de Janeiro and the local cultural ecosystem. Over the years, the festival has occupied concert halls of various sizes and proposals, concert halls, art institutions, public spaces, and unusual places – such as churches, warehouses, schools, beaches, and waterfalls. In this way, Novas Frequências proposes a 360º relationship with music and experiences that are different from what you might imagine at a traditional festival, promoting performances, installations, parties, commissioned projects, site specifics, lectures, workshops, courses, artist residencies, and sound walks. The NF23 program is divided into two main axes: exhibitions and shows/performances, running from December 2 to 22. Check the program here! SHARE YOUR NEWS!
Towards our next WFAE newsletters, we invite WFAE Affiliate, Associate and Individual members to news and updates on activities happening in their local area. Please send information and links to multimedia (sound, pictures, video, etc.) to [email protected]. |
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