The artist Elizabeth McTernan and the mathematician Luke Wolcott collaborated on A Tree Calls, in which Wolcott chopped down a tree in the United States and McTernan simultaneously led a group in Copenhagen to walk toward the arrival of the sound of the tree falling. How does the sound of this tree falling, and the story of its journey and reception, help us walk into a framed void, alone together? In its faint vibration, how can we hear both the idea’s persistent unity and the silent physical arrival of absence?

In 2015–2016 the author installed interactive public artworks on sidewalks in Brooklyn and Queens using ordinary city permits. The locations were chosen in counterbalance to the dominant choices of location for public art in New York, which tends to be placed in Manhattan or other tourist-concentrated areas. The works are entitled the Public Utteraton Machines and enable passersby to utter their opinions about other public art in the city as well as art’s role in society.

This article discusses making Within History, an artwork that translates a commentary on historically situated perceiving from the visual realm to the sonic.

In this study, the authors take on the challenge to translate biological form (science) into musical form (art). Through scientifically developed methodology, the authors link two aspects of human experience that influence human emotions: hormones, from the inside, and music, from the outside. The authors develop an original algorithm, which they use to represent the properties and the effects of the human hormone oxytocin in a musical composition.

This article presents results of experiments undertaken with expert musicians using the author’s original system for systemic improvisation. By promoting the formation of parallel and simultaneous layers of sustained musical relationships, this system facilitates an enhanced focus on local clusters and their development over time. This tool opens a novel perspective on improvised interactions and how they are formed, evaluated, updated, modified and abandoned during a performance, encouraging a critical evaluation of collective schemata.

Western voice is historically de-agentialized, that is, gendered female, opposed to performer self-listening, de-privileged relative to composition and rendered ocularcentric by recording technologies. However, by employing sound technologies as prosthesis to the vocal body, and by self-listening to manage the body-prosthesis relationship, contemporary extended voice practitioners figure as cyborgs reclaiming vocal agency, that is, input into mediation of and by one’s technologized vocal body.

After composer and organist Ákos Rózmann (1939–2005) moved from his native Hungary to Sweden in 1971, it became his conviction that instrumental composition had no future, and he committed himself completely to the electroacoustic studio. An important part of Rózmann’s self-characterization and the early reception of his music was the statement that his electroacoustic compositions were the results of working as a spiritual medium.

In 1956, Lejaren A. Hiller, Jr., and Leonard Isaacson debuted the Illiac Suite, the first score composed with a computer. Its reception anticipated Hiller’s embattled career as an experimental composer. Though the Suite is an influential work of modern electronic music, Hiller’s accomplishment in computational experimentation is above all an impressive feat of postwar conceptual performance art.

Using Karlheinz Stockhausen’s Solo für Melodieinstrument und Rückkopplung (1965–1966) as a starting point, the authors investigate the affect and effect of technological transference when reproducing historical repertoire with live electronics. A suggestion of technical transparency often accompanies digital sound technologies; we aim to challenge this notion. We argue that the coloring that emerges with digital media can (and perhaps should be) used to inject new life into, and ask new questions of, the works that are being preserved.

The article discusses a sound installation premiered during the 70th anniversary of the New Music Summer Courses in Darmstadt. The project proposes a dialogue between the archive of the Internationales Musikinstitut Darmstadt (IMD), which preserves the voices of contemporary music composers who lectured at the summer courses, and Archivo PAIS, the author’s personal archive of anonymous voices of street vendors, informal preachers, institutional announcers and street artists.