1. History and Memory
  2. Nicolas Collins
  3. pp. 1-2
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  1. Acouscenic Listening and Creative Soundwalks: Evoking Memory and Narratives through Soundscape Exploration
  2. Sean Taylor, Mikael Fernström
  3. pp. 3-6
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  1. Be Here Now, and Then: Urban Ecological History into Art
  2. Edmund Mooney
  3. pp. 7-11
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  1. Resounding Memory: Aural Augmented Reality and the Retelling of History
  2. Verónica Soria-Martínez
  3. pp. 12-16
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  1. A Memory of Almost Nothing: Luc Ferrari’s Listening During Presque Rien No.1
  2. Lawrence English
  3. pp. 17-20
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  1. Times Square: Strategies and Contingencies of Preserving Sonic Art
  2. Charles Eppley
  3. pp. 21-26
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  1. Historical Virtualization: Analog and Digital Concerns in the Recreation, Modeling and Preservation of Contemporary Piano Repertoire
  2. Chrysi Nanou, Rob Hamilton
  3. pp. 27-31
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  1. Transcoding Nancarrow at the Dawn of the Age of MIDI: The Preser vation and Use of Conlon Nancarrow’s Player Piano Studies
  2. Jim Murphy, Trimpin
  3. pp. 32-35
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  1. On Improvised Music, Computational Creativity and Human-Becoming
  2. Arto Artinian, Adam James Wilson
  3. pp. 36-39
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  1. Phonological and Musical Loops in Live Coding Performance Practice
  2. David Kim-Boyle
  3. pp. 40-44
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  1. DATs, MiniDiscs and the Self-Idiomatic Archive
  2. Michael T. Bullock
  3. pp. 45-46
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  1. Soundwalking Salzburg, Forty Years Later
  2. Laura J. Cameron, Matt Rogalsky
  3. pp. 46-47
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  1. Corposing a History of Electronic Music
  2. Nick Collins
  3. pp. 47-48
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  1. LOOP: A Circular Ferric Memory in Slow Decline
  2. Mat Dalgleish
  3. pp. 49-50
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  1. Aurosion: Eroding Sonic Landscapes with the Internet Audio Cyclotron
  2. J. M. Gagen, A. J. Wilson
  3. pp. 50-51
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  1. Environmental Histories and Personal Memory: Collaborative Works in Sonification and Virtual Reality
  2. Richard Graham
  3. pp. 51-53
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  1. The Piano Mill: Nostalgic Music and Architecture in the Australian Bush
  2. Erik Griswold
  3. pp. 53-54
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  1. Folto Giardino: Hybrid Cross-Pollination of Score, Performance, Installation and Technology
  2. Jonathan Impett
  3. pp. 54-56
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  1. Sounds of Wow: Tape Composition and the Poetics of the Index
  2. Joseph Kramer
  3. pp. 56-57
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  1. A Work for the Jewish Soul of Warsaw, Old and New
  2. Lukas Ligeti
  3. pp. 57-58
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  1. Memory Piece: Memory as a Compositional Process
  2. Luke Nickel
  3. pp. 59-60
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  1. The Chinwag: Memory, Digital Technology and Traditional Music
  2. Úna Monaghan
  3. pp. 60-61
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  1. Uncanny Materialities: Digital Strategies for Staging Supernatural Themes Drawn from Medieval Ballads
  2. Ludvig Elblaus, Åsa Unander-Scharin, Carl Unander-Scharin
  3. pp. 62-66
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  1. The Cadolzburg Experience: On the Use of Sound in a Historical Museum
  2. Gerald Fiebig, Uta Piereth, Sebastian Karnatz
  3. pp. 67-70
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  1. A Personal Reminiscence on the Roots of Computer Network Music
  2. Scot Gresham-Lancaster
  3. pp. 71-77
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  1. Updating the History of Sound Art: Additions, Clarifications, More Questions
  2. Bernhard Gál
  3. pp. 78-81
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  1. A Documentation of Sound Art in Japan: Sound Garden (1987–1994) and the Sound Art Exhibitions of 1980s Japan
  2. Katsushi Nakagawa, Tomotaro Kaneko
  3. pp. 82-86
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  1. Gambioluthiery: Revisiting the Musical Instrument from a Bricolage Perspective
  2. Giuliano Obici
  3. pp. 87-92
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  1. TA [P] CHAS: References to Indigenous Traditions in Peruvian Electroacoustic Composition of the 1960s
  2. Renzo Filinich Orozco
  3. pp. 93-97
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  1. Sonic Commentary: Bonus Ghost Tracks: LMJ27 Audio Tracklist
  2. Veniero Rizzardi
  3. p. 98
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  1. Sonic Commentary: Bonus Ghost Tracks
  2. Veniero Rizzardi
  3. pp. 99-100
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  1. Leonardo Volume 50 and Leonardo Music Journal Volume 27
  2. pp. 101-106
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  1. The Network
  2. Stacy Jerger
  3. pp. 107-108
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  1. Sonic Commentary: Bonus Ghost Tracks
  2. Veniero Rizzcirdi, Henri Pousseur, Elliott Sharp, Carl Stone, Luigi Nono, Claudio Ambrosini, Evan Parker, Andrea Centazzo
  3. pp. S1-S5
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