Project MUSE®: Leonardo Music Journal - Latest Articles
https://muse.jhu.edu/journal/119
Project MUSE®: Latest articles in Leonardo Music Journal.daily12026-05-19T00:00:00-05:00text/htmlen-USVol. 1, no. 1 (1991) - vol. 30 (2020)Latest Articles: Leonardo Music JournalTWOProject MUSE®Leonardo Music Journal1531-48120961-1215Latest articles in Leonardo Music Journal. Feed provided by Project MUSE®Listening Geopolitics and the Anthropocene Contact Zones of the Bali and Georgia Straits
https://muse.jhu.edu/article/775503
<p></p>
The relations between sound and power are especially potent in maritime boundaries. In these places defined by demarcation, sound, in effect, is a sonic blueprint of the assertion of power. Not just the power of nation-states, marked on the map through their bloodied histories of empire and colonialism, but also the power of the corporations behind the technological infrastructure in these spaces and the powerful behemoth that is capitalism. Through the accounts of two ethnographic case studies that used practices taken from sensory, multispecies and sonic approaches and autoethnography, this article interrogates the sonic blueprint of two maritime boundaries. Defined by different limits and ecosystems, but united
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallListening Geopolitics and the Anthropocene Contact Zones of the Bali and Georgia Straits2020-12-16text/htmlen-USListening Geopolitics and the Anthropocene Contact Zones of the Bali and Georgia Straits2020-12-162020TWOProject MUSE®565492026-05-19T00:00:00-05:002020-12-16LMJ30 Audio Tracklist
https://muse.jhu.edu/article/775504
<p></p>
Zachary James Watkins: "AFFIRMATIVE ACTION" (from AFFIRMATIVE ACTION) (10:42)
[ Download ]Davia Spain: "Hello" (3:59)
[ Download ]Raven Chacon: "Tributary" (from AFFIRMATIVE ACTION) (4:43)
[ Download ]JKLM: "Fill A Stranger's Shoes" (4:29)
[ Download ]Ava Mendoza: "Attempted Dictator III" (from AFFIRMATIVE ACTION, performed by TLES) (4:46)
[ Download ]AH-Mer-AH-Su: "Meg Ryan" (3:54)
[ Download ]Sharmi Basu: "Freelancer's Jest or Sorry I'm A Fuckup" (from AFFIRMATIVE ACTION) (18:51)
[ Download ]YGSLRHSTFUT: "Rage" (2:20)
[ Download ]Morgan Craft: "Performance" (from AFFIRMATIVE ACTION) (10:09)
[ Download ]Curator: Andy MeyersonAll recordings engineered and remastered by Tom Erbe:
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallLMJ30 Audio Tracklist2020-12-16text/htmlen-USLMJ30 Audio Tracklist2020-12-162020TWOProject MUSE®49282026-05-19T00:00:00-05:002020-12-16Sonic Commentary: Who The Hell Do You Think You Are?
https://muse.jhu.edu/article/775505
<p></p>
when i was asked to curate this audio companion, three questions immediately came to mind:How can this money and platform be redistributed to Black trans and queer composers?How can redistribution and amplification of these voices occur without further tokenizing or marginalizing?How can I acknowledge and confront the space I personally take up in this endeavor?In the past 30 years, Leonardo Music Journal's Audio Companions have featured zero Black curators—and only about a half-dozen Black artists have been represented since 2010. It seemed obvious to direct both the space and the money (a small stipend is sent to the curator, not the artists whose music is featured) to Black artists—specifically, Black trans
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallSonic Commentary: Who The Hell Do You Think You Are?2020-12-16text/htmlen-USSonic Commentary: Who The Hell Do You Think You Are?2020-12-162020TWOProject MUSE®71502026-05-19T00:00:00-05:002020-12-16Notes on LMJ30 audio tracks
https://muse.jhu.edu/article/775506
<p></p>
ZACHARY JAMES WATKINS: "AFFIRMATIVE ACTION" (FROM AFFIRMATIVE ACTION) (10:42)
Contact: Zachary James Watkins. Web: www.zacharyjameswatkins.com.
This piece was commissioned and performed by The Living Earth Show.Zachary writes: "Affirmative Action. Affirmative in power and Action in movement. When invited to compose for The Living Earth Show, my confident response was to curate short pieces by composers of color whose work I am inspired by and feel deserve action.I immediately knew who I wanted to invite due to past collaborations brought about by an interest in connecting with a community of diverse artists. I titled my composition and program 'AFFIRMATIVE ACTION.'My piece 'AFFIRMATIVE ACTION'is written for
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallNotes on LMJ30 audio tracks2020-12-16text/htmlen-USNotes on LMJ30 audio tracks2020-12-162020TWOProject MUSE®214282026-05-19T00:00:00-05:002020-12-162020 Author Index: Leonardo Volume 53 and Leonardo Music Journal Volume 30
https://muse.jhu.edu/article/775507
<p></p>
ADAMS, KATHRYN. Review of South Side Venus: The Legacy of Margaret Burroughs by Mary Ann Cain, Leonardo 53, No. 2 (2020).ADELMAN, CLEMENT. "Chance in Art and Biology," Leonardo 53, No. 1 (2020).AGGARWAL, VIDHU. "Radioactive Unicorn," in "Scientific Delirium Madness 6.0" Gallery section, Leonardo 53, No. 3 (2020).AH-MER-AH-SU. "Meg Ryan," audio track, "LMJ30 Audio Companion," Leonardo Music Journal 30 (2020).AHRNT, JANNA. "Deconstruct and Dissent: Subversive Technologies for the Modern Militant," in Special Section "Top-Rated LABS Abstracts 2019," Leonardo 53, No. 5 (2020).ALESSANDRINI, PATRICIA. "A little bit of noise," in "Scientific Delirium Madness 6.0" Gallery section, Leonardo 53, No. 3 (2020).AMELOT, PIERRE;
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmall2020 Author Index: Leonardo Volume 53 and Leonardo Music Journal Volume 302020-12-16text/htmlen-US2020 Author Index: Leonardo Volume 53 and Leonardo Music Journal Volume 302020-12-162020TWOProject MUSE®504982026-05-19T00:00:00-05:002020-12-16The Network
https://muse.jhu.edu/article/775508
<p></p>
The Newsletter of the International Society for the Arts, Sciences and Technology and of l'Observatoire Leonardo des Arts et Technosciences The Network Coordinator: assistant@leonardo.infoOnce a year Leonardo publishes the SIGGRAPH issue of Leonardo journal, which is the result of an ongoing collaboration between Leonardo and ACM SIGGRAPH to showcase the community of artists, designers and scholars working with computer graphics and interactive technologies. Leonardo/ISAST and SIGGRAPH are pleased to present the twelfth edition of SIGGRAPH Art Papers, built upon the interconnection with other artsrelated paths inside SIGGRAPH. The SIGGRAPH Art Gallery offers a space for creative contemplation. In light of shifting
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallThe Network2020-12-16text/htmlen-USThe Network2020-12-162020TWOProject MUSE®129662026-05-19T00:00:00-05:002020-12-1630 Years of Leonardo Music Journal
https://muse.jhu.edu/article/775509
<p></p>
you hold in your hands—or, more likely, are reading on a screen—the thirtieth and final volume of Leonardo Music Journal. I am writing in September 2020 from a workspace carved out of a corner of my dining room in Oakland, California. We are in our sixth month of social distancing made necessary by the COVID-19 virus. In the United States, we are in the midst of an intense presidential election season. Massive wildfires are raging all along the West Coast. Locally, nationally and internationally, people are rising up in a reinvigorated civil rights movement fighting for racial justice.We are living in a strange, disconcerting and turbulent time in which it seems like everything is changing all at once, and not to
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmall30 Years of Leonardo Music Journal2020-12-16text/htmlen-US30 Years of Leonardo Music Journal2020-12-162020TWOProject MUSE®49932026-05-19T00:00:00-05:002020-12-16Active Imaginative Reading … and Listening
https://muse.jhu.edu/article/775510
<p></p>
reading can be a multisensory experience, an active imaginative one during which we synthesize multidimensional, endogenous environments in which memory tracings form and are inscribed, making personal times with histories, nows and futures. Plentiful invitations for rich explorations await the reader of this LMJ issue. And, profoundly so, this one challenges us to listen hard—listen to sounds, yes, and also listen to challenging ideas and points of view. As we confront the multilayered forces of change in our current environments, open imaginative reading and listening become important sources of hope and guidance for actions directed at positive evolution.We can imagine ourselves taking on the listening roles of
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallActive Imaginative Reading … and Listening2020-12-16text/htmlen-USActive Imaginative Reading … and Listening2020-12-162020TWOProject MUSE®152352026-05-19T00:00:00-05:002020-12-16Musicking with Music-Generation Software in Virtutes Occultae
https://muse.jhu.edu/article/775511
<p></p>
The choice to entrust musical decisions to music-generation software represents a departure from traditional compositional methods and calls for an investigation into the significance of this departure. In the spirit of Christopher Small's concept of "musicking," which focuses broadly on collaborative musical activity [1], in this article I present personal experiences and reflections on musicking with musicgeneration software in the course of creating the piece Virtutes Occultae.Published in December 2017, Virtutes Occultae is an electroacoustic composition for six physically modeled digital pianos with nonstandard tunings. Virtutes Occultae is 90 minutes in duration and contains 18 short pieces—it is in "album"
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallMusicking with Music-Generation Software in Virtutes Occultae2020-12-16text/htmlen-USMusicking with Music-Generation Software in Virtutes Occultae2020-12-162020TWOProject MUSE®334612026-05-19T00:00:00-05:002020-12-16Beat Machine: Embracing the Creative Limitations and Opportunities of Low-Cost Computers
https://muse.jhu.edu/article/775512
<p></p>
www.mitpressjournals.org/toc/lmj/30
The genesis for the Beat Machine project can be traced to Handmade Electronic Music by
Nic Collins, specifically "The World's Simplest Circuit: Six Oscillators on a Chip, Guaranteed to Work"
[1]. In 2018 John Ferguson designed a batterypowered synthesizer
based around a printed circuit board (PCB) and a Texas Instruments CD40106 (Hex Schmitt-Trigger) with
audio control via photocells, touchpads and potentiometers [2], but
his desire to include algorithmic coding in the design to add sonic flexibility led to a collaboration
with Andrew R.
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallBeat Machine: Embracing the Creative Limitations and Opportunities of Low-Cost Computers2020-12-16text/htmlen-USBeat Machine: Embracing the Creative Limitations and Opportunities of Low-Cost Computers2020-12-162020TWOProject MUSE®660722026-05-19T00:00:00-05:002020-12-16Minding the Gap: Conceptualizing "Perceptualized" Timbre in Music Analysis
https://muse.jhu.edu/article/775513
<p></p>
Timbre's perceptual immediacy belies the challenges it poses in music analysis. Not only does timbre fall outside the purview of traditional analytical systems, designed to uncover and model structural relationships of pitch and duration, it also challenges disciplinary biases and values embedded in these systems. I explicate this claim below by examining ways in which recent music-analytic approaches to timbre negotiate related ontological, epistemological and axiological concerns. I must first however clarify three assumptions about timbre that ground this discussion.Assumption 1: Timbre is a subjective perceptual attribute of a physical sound event, distinct from the sound event itself [1]. "Perceptualized"
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallMinding the Gap: Conceptualizing "Perceptualized" Timbre in Music Analysis2020-12-16text/htmlen-USMinding the Gap: Conceptualizing "Perceptualized" Timbre in Music Analysis2020-12-162020TWOProject MUSE®367782026-05-19T00:00:00-05:002020-12-16Sounding Time: Explorations in Audio Time-Lapse and Temporal Layering in Interdisciplinary Collaboration
https://muse.jhu.edu/article/775514
<p></p>
[ Erratum ]My focus as a composer/sound artist has long been on the borders between music and sound, using recorded sounds (environmental, mechanical, human, instrumental, etc.) manipulated electronically to play in the space between realworld reference and musical abstraction. Lately, through my collaborations with media artist Ian Winters, the issue of temporal experience itself has become more central in my work. Music is already a structuring of time, both for the composer and the listener. But music that uses recorded sound as material can layer that temporal experience further by using captured time—recorded sounds as past, as memory or trace, brought into an eternal present with each fresh hearing.Media
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallSounding Time: Explorations in Audio Time-Lapse and Temporal Layering in Interdisciplinary Collaboration2020-12-16text/htmlen-USSounding Time: Explorations in Audio Time-Lapse and Temporal Layering in Interdisciplinary Collaboration2020-12-162020TWOProject MUSE®351152026-05-19T00:00:00-05:002020-12-16Deep Listening to the Amazon Rainforest through Sonic Architectures
https://muse.jhu.edu/article/775515
<p></p>
www.mitpressjournals.org/toc/lmj/30
Every man should pull a boat over a mountain once in his life.
De Rerum Natura explores the sonic nature of the Brazilian Amazon rainforest. This
environment is dense with sonorities; it absorbs and influences composers while they are soundwalking,
spotting locations or recording. The ears and the mind are fully dedicated to listening, leading to
vivid mental imagery included in this composition and transmitted to the audience during the
performance. "To listen is to decode; it is to make sense of a sensory input" [1].
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallDeep Listening to the Amazon Rainforest through Sonic Architectures2020-12-16text/htmlen-USDeep Listening to the Amazon Rainforest through Sonic Architectures2020-12-162020TWOProject MUSE®626002026-05-19T00:00:00-05:002020-12-16A Generative Sound Mural, The Whole Inside: Sounding the Body
https://muse.jhu.edu/article/775516
<p></p>
The Whole Inside is a generative sound mural combining artificial and human voices, expanding the plastic dimension of voice. The work confronts femininity and abuse, by which the body is being depersonalized, leading to subsequent dissociation as a defense mechanism to cope with a traumatic event. The harrowing polyphonic vocal composition is based on a text sourced from the Incels ("involuntary celibates") forum [1], an online community in which men define themselves as unable to find a partner, thus expressing their resentment against women, often in graphically disturbing terms. Debating how to murder a woman, some members of the Incels community propose diverse actions, one being to rape her and then to "take
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallA Generative Sound Mural, The Whole Inside: Sounding the Body2020-12-16text/htmlen-USA Generative Sound Mural, The Whole Inside: Sounding the Body2020-12-162020TWOProject MUSE®291192026-05-19T00:00:00-05:002020-12-16Stowaway City: An Immersive Audio Experience for Multiple Tracked Listeners in a Hybrid Listening Environment
https://muse.jhu.edu/article/775517
<p></p>
Extended Reality (XR) is an umbrella term that incorporates all immersive experiences and their technologies. XR usually involves a wearable device to facilitate human-computer interactions, with varying amounts of sensory input and feedback. Real and virtual objects are combined or used solely to extend/change our perceived reality. The three predominant terms to categorize this relationship, at the time of this writing, are virtual reality (VR), augmented reality (AR) and mixed reality (MR). These exist on a spectrum from the completely real to the completely virtual, with interpolated areas and terminology around them; these terms are often used with some crossover. Recent rapid developments in XR technology
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallStowaway City: An Immersive Audio Experience for Multiple Tracked Listeners in a Hybrid Listening Environment2020-12-16text/htmlen-USStowaway City: An Immersive Audio Experience for Multiple Tracked Listeners in a Hybrid Listening Environment2020-12-162020TWOProject MUSE®357962026-05-19T00:00:00-05:002020-12-16Topology of Networks in Generalized Musical Spaces
https://muse.jhu.edu/article/775518
<p></p>
Network analysis methods exploit the use of graphs or networks as convenient tools for modeling relations in large data sets. If the elements of a data set are thought of as nodes, then the emergence of pairwise relations between them—edges—yields a network representation of the underlying set. Like social networks, biological networks and other well-known real-world complex networks, entire data sets of musical structures can be treated as a network, where a node represents each individual musical entity (pitch class set, chord, rhythmic progression, etc.), and a pair of nodes is connected by a link if the two objects exhibit a certain level of similarity according to a specified quantitative metric. Pairwise
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallTopology of Networks in Generalized Musical Spaces2020-12-16text/htmlen-USTopology of Networks in Generalized Musical Spaces2020-12-162020TWOProject MUSE®410302026-05-19T00:00:00-05:002020-12-16Study in three phases: An Adaptive Sound Installation
https://muse.jhu.edu/article/775519
<p></p>
An adaptive system is one capable of modifying its internal variables (state) as a function of its inputs in order to fulfill a task [1,2]. Adaptive systems are increasingly used in musical interaction because of their adaptability to environmental perturbations (noise, turbulence), thus creating a connection between audience and system. This connection is deeper compared with nonadaptive systems: In a generically interactive installation, the system directly reacts to the inputs; however, implicit feedback between output and input is relegated to a secondary, almost inconsequential, role. In adaptive systems, environment and system are structurally coupled [3], influencing each other in a circular way. We then
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallStudy in three phases: An Adaptive Sound Installation2020-12-16text/htmlen-USStudy in three phases: An Adaptive Sound Installation2020-12-162020TWOProject MUSE®475482026-05-19T00:00:00-05:002020-12-16Music Gesture and the Correspondence of Lines: Collaborative Video Mediation and Methodology
https://muse.jhu.edu/article/775520
<p></p>
In this article I present two of my musical works, Copy-make [1] and Mapping Australia [2], and examine their relationship to line-making as discussed in the anthropology of Tim Ingold [34–5] and in the contemporary dance methodologies of William Forsythe [6,7]. Music gesture can also be thought of as dynamic, multisensorial lines (what Ingold refers to as a "life of lines"). I focus on Ingold's concept of the "correspondence of lines" as a transformative music-gestural process. Gesture is seen here as a form of line-making, of bodies moving through space. Ingold's correspondence is the relation between these lines, involving active participation in simultaneously making and growing them. In my works I explore this
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallMusic Gesture and the Correspondence of Lines: Collaborative Video Mediation and Methodology2020-12-16text/htmlen-USMusic Gesture and the Correspondence of Lines: Collaborative Video Mediation and Methodology2020-12-162020TWOProject MUSE®422892026-05-19T00:00:00-05:002020-12-16Music as Epistemic Construct: From Sonic Experience to Musical Sense-Making
https://muse.jhu.edu/article/775521
<p></p>
Musicology has a young disciplinary history, with regard to both its contents and its methods. After a first rough subdivision by Adler in a historic and systematic branch [1], there have been multiple attempts to broaden its scope with major new fields such as cognitive musicology, computational musicology, empirical musicology and others. Much of this early work, however, takes a rather disembodied stance toward music [2]. Hence, a whole new field of research has emerged in recent decades that proposes embodied and enactive models for the study of the musical mind as an ongoing process of dynamic interactivity between an organism and its environment [34–5].The aim of this contribution is to put together different
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallMusic as Epistemic Construct: From Sonic Experience to Musical Sense-Making2020-12-16text/htmlen-USMusic as Epistemic Construct: From Sonic Experience to Musical Sense-Making2020-12-162020TWOProject MUSE®539322026-05-19T00:00:00-05:002020-12-16Exploring the Nexus of Holography and Holophony in Visual Music Composition
https://muse.jhu.edu/article/775522
<p></p>
Holophony and virtual holography extend beyond more common 3D approaches. Although definitions for each tend to vary, here I consider holograms as stereoscopic projections of virtual three-dimensional visual objects that appear to occupy a common three-dimensional space with the viewer. Holophons are then their auditory counterparts. Holophons and holograms extend the range of expression beyond affording the potential for relationships that portray the realism of day-to-day perception into relationships between sight and sound that could not otherwise exist within our normal perceptions of reality. Potentially, one can allude to multiverses within such environments. To explain, although photographs are
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallExploring the Nexus of Holography and Holophony in Visual Music Composition2020-12-16text/htmlen-USExploring the Nexus of Holography and Holophony in Visual Music Composition2020-12-162020TWOProject MUSE®407762026-05-19T00:00:00-05:002020-12-16Now I'm Digital, Where Is My Ritual? Exploring Postdigital Performance Objects as Totems for Agency and Ritual
https://muse.jhu.edu/article/775523
<p></p>
www.mitpressjournals.org/toc/lmj/30
There is a phrase that often comes to my wandering mind: "Rituals are disappearing from live electronic
music practice as a direct result of the convenience offered by digital devices." In this context, I am
defining ritual using Bruce Lincoln's fundamental descriptor of religious rituals,
which asserts that they are activities that convey "the sense of reconnecting things, beings, and
spheres of existence that once were close but somehow have come to be distant" [1]. Rituals pervade aspects of human life beyond religion and usually involve a
physical
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallNow I'm Digital, Where Is My Ritual? Exploring Postdigital Performance Objects as Totems for Agency and Ritual2020-12-16text/htmlen-USNow I'm Digital, Where Is My Ritual? Exploring Postdigital Performance Objects as Totems for Agency and Ritual2020-12-162020TWOProject MUSE®605002026-05-19T00:00:00-05:002020-12-16The Presence of a Mysterious Black Silhouette: From a Print to a New Form of Usage of Guitar Multiphonics
https://muse.jhu.edu/article/775524
<p></p>
My latest compositional output has been mainly centered on the classical guitar and the technique of multiphonics on this instrument. This unconventional performing technique has been the subject of my scientific research for some years now. Nevertheless, when composing a piece titled Si amanece, nos vamos (If day breaks, we will be off), which I wrote in 2015 at the request of guitarist Jürgen Ruck to contribute to his project Caprichos Goyescos, I ended up carrying out artistic research and arrived at a new form of usage of the technique.Ruck's project consists of short caprichos for solo guitar written by various composers; the guitar caprichos were to be inspired by a print of the set Los Caprichos (1797–1798)
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallThe Presence of a Mysterious Black Silhouette: From a Print to a New Form of Usage of Guitar Multiphonics2020-12-16text/htmlen-USThe Presence of a Mysterious Black Silhouette: From a Print to a New Form of Usage of Guitar Multiphonics2020-12-162020TWOProject MUSE®494932026-05-19T00:00:00-05:002020-12-16A Conflux of Musical Logics: Memory, History and the Improvisative Music of SLANT
https://muse.jhu.edu/article/775525
<p></p>
SLANT (2019, pfMENTUM) isa duo album that I coconceived, cocomposed and collaboratively
performed on tenor saxophone with pianist and new music specialist Richard Valitutto. For the nine
improvisation-based concepts constituting the project, we drew on sounds of Ornette Coleman, Alexander
Scriabin, Eric Dolphy, Horațiu Rădulescu, Keith Jarrett, Cecil Taylor and others as we engaged the
musical worlds of our personal experience. Valitutto's and my lived musical experience as individuals
spans a broad swath of overlapping terrain: The sociomusical ways that SLANT came
together were crucially informed by
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallA Conflux of Musical Logics: Memory, History and the Improvisative Music of SLANT2020-12-16text/htmlen-USA Conflux of Musical Logics: Memory, History and the Improvisative Music of SLANT2020-12-162020TWOProject MUSE®445512026-05-19T00:00:00-05:002020-12-16Sound as Evidence: Paradigms of Aesthetic Approximation in an age of Geopolitical Crisis
https://muse.jhu.edu/article/775526
<p></p>
As witnessed by Walter Benjamin in the early twentieth century, the "state of emergency" in which we still live is not the exception but the rule. In 2018, a research project called Lyden af Danmark (The Sound of Denmark) was launched, aiming at collecting sounds recorded by people living in Denmark. Of 155 recordings and 294 individual sounds uploaded, birds singing and lawnmowers seem to dominate. However, the refugee asylums scattered around the country remain silent (or unrecorded).From this silence the editorial idea for this special section grew as a question: How can sound-based work or phenomena function as evidence in the situation we are in? Are all the crises we are witnessing crises in representing
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallSound as Evidence: Paradigms of Aesthetic Approximation in an age of Geopolitical Crisis2020-12-16text/htmlen-USSound as Evidence: Paradigms of Aesthetic Approximation in an age of Geopolitical Crisis2020-12-162020TWOProject MUSE®61352026-05-19T00:00:00-05:002020-12-16The Hearing Test: Evidence of a Vegetal Entity
https://muse.jhu.edu/article/775527
<p></p>
The recent decade has witnessed palpable interest among the general public to observe, understand and connect with our co-organisms on the planet. This is visible also in the increase in theoretical publication on humanistic perspectives on multiple species and their projected evolution, as well as on the division between humans and nonhumans [1–3]. It seems obvious that this increasing interest and the popular urge to add to understanding is partly motivated by our helplessness in the face of environmental and climate change. This situation and our growing desire to reconnect with our planet and its creatures, as well as the hypothetical but often-articulated aspiration for interspecies communication, underlies my
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallThe Hearing Test: Evidence of a Vegetal Entity2020-12-16text/htmlen-USThe Hearing Test: Evidence of a Vegetal Entity2020-12-162020TWOProject MUSE®418062026-05-19T00:00:00-05:002020-12-16Transductive Wind Music: Sharing the Danish Landscape with Wind Turbines
https://muse.jhu.edu/article/775528
<p></p>
Denmark produces more of its electricity from wind power than anywhere else in the world. In 2015, Denmark produced almost half of its electricity from wind. Most Danes are proud of promoting Denmark as a green energy country, but, at the same time, many want to keep the wind turbines out of eye- and earshot. However, it seems that the country is simply too small to keep them in the background, and many argue that they make too much noise and their visual presence destroys nature views (Fig. 1). Th erefore, new wind turbines oft en spark intense public debate in Danish media, focused on the aesthetic and sensorial implications of how the wind turbines change local environments [1].Throughout 2018 an audience was
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallTransductive Wind Music: Sharing the Danish Landscape with Wind Turbines2020-12-16text/htmlen-USTransductive Wind Music: Sharing the Danish Landscape with Wind Turbines2020-12-162020TWOProject MUSE®392002026-05-19T00:00:00-05:002020-12-16Interspecies Bodies and Watery Sonospheres: Listening in the Lab, the Archives and the Field
https://muse.jhu.edu/article/775529
<p></p>
www.mitpressjournals.org/toc/lmj/30
Several years back, in a quiet room at the Special Collections and University Archives at Stanford
University Libraries, I meticulously dug through box after box of the John C. Lilly Papers [1]. My encounter with this archive would provoke me to explore an
understudied feature of Lilly's scientific research: the transformative role of sound and listening,
which in turn troubles Western knowledge systems in fruitful ways. Lilly was a respected North
American neurophysiologist and considered a pioneer in his field in the 1940s and 1950s. Since then
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallInterspecies Bodies and Watery Sonospheres: Listening in the Lab, the Archives and the Field2020-12-16text/htmlen-USInterspecies Bodies and Watery Sonospheres: Listening in the Lab, the Archives and the Field2020-12-162020TWOProject MUSE®535862026-05-19T00:00:00-05:002020-12-16Tactical Soundwalking in the City: A Feminist Turn from Eye to Ear
https://muse.jhu.edu/article/775530
<p></p>
www.mitpressjournals.org/toc/lmj/30
Let us begin with the flâneuse: The term flâneuse is a reappropriation of
flâneur, a word that is gendered as male not only grammatically but conceptually. A popular
literary figure of nineteenth-century France, the flâneur is the quintessential urban wanderer, a
dissociated observer of modern society. The flâneur is also the archetypal figure of a history of
walking in art and literature that has generally been oriented around the male subject—from Charles
Baudelaire to Richard Long to Vito Acconci to Paul Smith. In response, recent feminist
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallTactical Soundwalking in the City: A Feminist Turn from Eye to Ear2020-12-16text/htmlen-USTactical Soundwalking in the City: A Feminist Turn from Eye to Ear2020-12-162020TWOProject MUSE®578532026-05-19T00:00:00-05:002020-12-16Microbial Sensing: Constructing Perception through Technological Layers
https://muse.jhu.edu/article/775531
<p></p>
Some years ago, I first viewed the microalgae Dunaliella salina under the microscope. I was researching cyanobacteria and other microalgae to critique their potential as a resource for human use, leading to the exhibition and publication Oltramarino [1]. As I looked at these organisms in a small lab room with the lights off, I was drawn into a space where I felt as if I were one tiny organism among a multitude of beings. I was struck by the organisms' celestial resemblance and, having discussed this with my scientist colleagues, was surprised to learn that they are rarely viewed in this way. Instead, visual information is generally taken at a higher resolution and often from more powerful microscopes.This shift of
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallMicrobial Sensing: Constructing Perception through Technological Layers2020-12-16text/htmlen-USMicrobial Sensing: Constructing Perception through Technological Layers2020-12-162020TWOProject MUSE®317532026-05-19T00:00:00-05:002020-12-16Sociosonic Interventions: Distributed Authorship in Socially Engaged Sound Practices
https://muse.jhu.edu/article/775532
<p></p>
Socially engaged art practices are located in creative forms that take human relations and their social contexts as points of departure, as methods, process and/or realization. Often termed "social practice," works are typically characterized by participatory elements, a reticence toward single authorship and a privileging of process over final outcome. While a clear collection of visual art practice, theory and criticism exists in this mode [123–4], socially engaged sound practice is generally not discussed in such detail.Through previous compositional practice as research, I have suggested a "sociosonic" method for sound composition, combining approaches to ethnography through field recording with aesthetics of
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/119/image/coversmallSociosonic Interventions: Distributed Authorship in Socially Engaged Sound Practices2020-12-16text/htmlen-USSociosonic Interventions: Distributed Authorship in Socially Engaged Sound Practices2020-12-162020TWOProject MUSE®437052026-05-19T00:00:00-05:002020-12-16