Rachel Louise Carson (May 27, 1907 – April 14, 1964) was an American marine biologist, writer, and conservationist whose influential book Silent Spring (1962) and other writings are credited with advancing the global environmental movement. Carson began her career as an aquatic biologist in the U.S. Bureau of Fisheries, and became a full-time nature writer in the 1950s. Her widely praised 1951 bestseller The Sea Around Us won her a U.S. National Book Award, recognition as a gifted writer and financial security.
Central European Network for Sonic Ecologies
Annea Lockwood (b. 1939) is a New Zealand / American composer. She brings vibrant energy, ceaseless curiosity, and a profound sense of openness to her music. Lockwood’s lifelong fascination with the visceral effects of sound in our environments and through our bodies—the way sounds unfold and their myriad “life spans”—serves as the focal point for works ranging from concert music to performance art to multimedia installations.
"Following the total disappearance of abstract sounds, this piece could be considered a sonic photographic slide, the outcome of a whole evolutionary process. The most faithful and realistic reminiscence possible of a fishing village at dawn. First conceptions about minimalism." Luc Ferrari
“The most important thing for my field work is the possibility of describing the experience of landscape. I want to know how to fix the experience of landscape. It’s a different method to using photography to fix it. We can see the outline of objects clearly in photographs. But when recording, things are not so clear and it is difficult to distinguish what vibrations travel in the place. It’s like a moving sculpture. I find many possibilities to connect with perception and recognition. So I cannot focus only on the aspect of sound or music in my field recordings.
"Sound works, recordings, scored compositions, improvisation, ongoing collaborations, installations: my work can take a variety of forms. At the most basic level, this work invokes a change, usually subtle, in the situation. It attempts to engage with “the process that is the world” (to quote Joseph Panzner quoting John Cage), to hear that world evolving behind the surface, to hear a world that is constantly undergoing transformation. But the work is also an attempt to pause, to hold that space open as a place to imagine a better world."
Yolande Harris is an artist and researcher exploring ideas of sonic consciousness. Her projects consider techniques of navigation, expanding perception beyond the range of human senses, the technological mediation of underwater environments and our relationship to other species. Walking is central to her practice, creating sound walks that awaken our perceptions within both natural and urban environments. Her projects on underwater sound aim to bring us closer to this inaccessible environment, encouraging connection, understanding and empathy with the ocean.
Jay-Dea Lopez is an Australian sound artist and field recordist whose work reflects the social and environmental anxieties of the early 21st century. His work reflects the social and environmental anxieties of the early 21st century. Initially trained in classical performance he now uses field recordings as a way to question our natural and social environments. Lopez' field recordings and compositions have been used in film, radio, theatre, festivals and gallery installations.
Caroline Claus is a Brussels-based urban (sound) researcher. Her work concentrates on the position of (sonic) vibrations in a context of urban development. The ontological turn in sound studies, feminist theory and the avantgarde output of independent electronic record labels provide a conceptual and methodological basis for an a-disciplinary research on sonic urbanism as speculative practice. Caroline has contributed to the planning and design of transitory urban railway spaces.
Christopher David DeLaurenti is an American sound artist, improvisor, and phonographer. His sound work encompasses field recordings, electroacoustic and acousmatic music, text-sound scores, free-improvised low-tech electronics, and compositions for acoustic instruments.
Leah Barclay is a composer and sound artist whose work reflects her belief that “[e]lectro-acoustic music, with the use of natural sounds exposing the state of the world, could be an unprecedented tool in artists taking action in ecological crisis.” Her works are underpinned by her ‘Sonic Ecologies Framework’, a methodology which involves the realisation of collaborative, site-specific sound arts projects incorporating community engagement and education.