This paper describes the conceptual origins and development of the author's ongoing environmental sound-art project Fragments of Extinction, which explores the eco-acoustic complexity of the remaining intact equatorial forests. Crossing boundaries between bioacoustics, acoustic ecology, electroacoustic technology and music composition, the project aims to reveal the ordered structures of nature's sonic habitats, define a possible model of compositional integration and make the outcome accessible to audiences to foster awareness on the current “sixth mass extinction.”

Featuring a set of microphones inside a dummy head situated within a gallery space, the author's installation 24/7 first records and later replays sounds sourced from within the space, representing past moments in time.

The author explores capturing and hearing music within a broader sound environment and the cultural and contextual information that this method can convey.

The author describes a recent sound installation that addresses an environmental issue as well as an issue with our sonic ecology.

The author discusses her research project Transition-Felt, an investigation of the development of locative narratives that informs the app The Letters.

The author describes his use of radio waves in public spaces to create interactive sonic compositions in his project, Radioscape.

The author discusses her work in relation to site-specific practice, embodied interaction and the practice of walking.

The author discusses her works that explore sound's influence on creating a sense of presentness and her aim to increase the audience's awareness of this influence.

This paper describes the concept and realization of Solar Work #2, an outdoor, solar-powered sound artwork that responds to the sun, creating a field of small sounds and drawing visitors into the physical and sonic landscape.

This paper examines aspects of neurological memory, rhythm and time within the works Ghost (Jane Grant) and Plasticity (Jane Grant, John Matthias, Nick Ryan and Kin).