Sally Ann McIntyre
Sally Ann McIntyre is a writer, sound practitioner and radio artist from New Zealand. She has a history in independent radio production, and since 2008 has programmed the Mini FM station Radio Cegeste 104.5 as a small-radius platform for site-responsive radio art events. Her work oscillates around themes of site-specificity, nomadism, the non-monumental memorial, the collection of sound libraries, phonography, museology, translation and transcription, memory, the haunted materiality of absent presence, old buildings and other historic sites, psychogeography, the performative fragility of small-scale transmission, bird migration and electromagnetism, the complex idea of 'dead air', the recorded and transmitted history of birdsong (sometimes also as a sonification of a New Zealand nationalism), and the possibility of an ecology of the radio that doesn't represent unstable systems as functioning in eternal homeostasis. She has initiated projects in environments from the most remote to the most populous, such as ‘soundtracks for the city’, scoring urban Melbourne on inner city street corners with a portable record player by playing stacks of discarded library music on 10” disc from the channel 10 TV archives, to a set of recordings of gallery spaces destroyed in the 2011 Christchurch earthquake played back to an artist-run gallery space in another city about to lose its lease, to a series of EVP recordings of extinct native birds held in museum collections, transmitted back into remote wilderness areas of the New Zealand bush.
Sally's practice spans radio documentary, critical writing, and curatorial and organisational work. She has written critically for print media, and published a lot of poetry in small press literary journals. Since 2009 she has been involved as an Australasian curator for the international Radia network which is a curatorial platform for peer-to-peer experimental radio art, commissioning many new works from sound and radio artists in the region. Her interests include environmental history, post-humanism, the history of museums, ethno-ornithology, island ecologies, avian electomagnetic navigation, obsolete technologies, the poetics of erasure and the trace, the possiblity of locality within the globalised, and the cultural and historical situatedness of listening.
She is a Research Assistant at The University of Melbourne, Teaching Associate at Monash University and Teaching Associate at The University of Melbourne.