The author introduces a soundscape project involving wetland field recordings and an original sound time-lapse method used as the basis for the design and implementation of a sound installation.

This paper proposes a novel approach to automated music recommendation systems. Current systems use a number of methods, although these are generally based on similarity of content, contextual information or user ratings. These approaches therefore do not take into account relevant, well-established models from the field of music psychology.

This article reflects on how the author’s use of oral history recordings as source material in three electroacoustic works suggests ways in which complementary threads of storytelling and recorded memory can be shaped into purposefully directed forms.

This article adapts a conversation on a network project, Listening across Disciplines, which brought together artists, musicians, scientists, technologists and social scientists to discuss the use, value and application of listening as a shared methodology of inquiry and communication. The discussion focuses on one of the key issues emerging from this network: the question of consensus and collaboration in the development of a shared listening methodology.

Digital technology can be used as a scenographic tool to project visual settings in the theatrical space. However, digital scenography that incorporates “faux-interactivity,” or the illusion of a causal relationship between live performers and digital elements, can also serve as a form of notation that digitally preserves the physical movement of live performers through scenographic context.

This article presents an overview of the use of binaural recording and experimental headphone mixing for a short film. Drawing loosely on theories of proxemics, the article illustrates how sound mixing can be used to create a unique subjective perspective. In particular, the authors sought to experiment with and to use the peculiarities of stereo headphone mixing and binaural sound to reinforce visual elements of a film designed for horizontal viewing on tablets.

This article concerns the realization of two sound installations that use a parametric (directional) loudspeaker as a central element of their working systems. The Soundhouse is a rotating structure that projects sounds in a directional way. El bosque y las sombras is instead an interactive multimedia setting where the visitors can trigger sounds and affect a video projection by moving in an enclosed, soundproofed space. A short introduction to parametric loudspeakers is provided; then the concept and the construction aspects of both installations are presented.