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Extending documentation and analysis frameworks for acousmatic music to performance/interpretation, from an information science point of view, will benefit the transmission and preservation of a repertoire with an idiosyncratic relation to performance and technology. The purpose of this paper is to present the outcome of a qualitative research aiming at providing a conceptual model theorizing the intricate relationships between the multiple dimensions of acousmatic music interpretation.

The methodology relies on the grounded theory. A total of 12 Interviews were conducted over a period of three years in France, Québec and Belgium, grounded in theoretical sampling.

The analysis outcome describes eight dimensions in acousmatic performance, namely, musical, technical, anthropological, psychological, social, cultural, linguistic and ontological. Discourse profiles are provided in relation to each participant. Theory development led to the distinction between documentation of interpretation as an expertise and as a profession.

Data collection is limited to French-speaking experts, for historical and methodological reasons.

The model stemming from the analysis provides a framework for documentation which will benefit practitioners and organizations dedicated to the dissemination of acousmatic music. The model also provides this community with a tool for characterizing expert discourses about acousmatic performance and identifying content areas to further investigate. From a research point of view, the theorization leads to the specification of new directions and the identification of relevant epistemological frameworks.

This research brings a new vision of acousmatic interpretation, extending the literature on this repertoire’s performance with a more holistic perspective.

As an artist working with sound and the moving image, an in-between space is revealed, a flux between two distinct mediums that intersect as temporal experience and sensory synchronisation. The audio–visual relationship is a pattern of constantly shifting moments of connection and discordance, an ephemeral dance of timing and rhythm that binds together to create a cinematic expression of time and event. The paper aims to discuss this issue.

In this paper, the author will consider the audio-visual event and the space that exists between the visual and the sonic via the frame of my own art practice. Through this context, the author will examine audio–visual relations from practice through to presentation, challenging the belief that sound is merely a support for the moving image and propose that it is an equal if not driving force in the audio-visual contract. The author will also investigate sound-based disciplines that the author utilize in my own work, all of which highlight the materiality of sound and how it can be engaged to directly affect the production and installation of moving image works in a gallery context.

Utilizing listening in this way has revealed surprising or overlooked connections that visually the author would otherwise have not acknowledged. It has helped link together interests across geography and cartography by expanding on what is not seen and can only be heard, and therefore revealing a new space of information. And it has emboldened the author to investigate the geographies of sound by supplying a way to follow associative connections across a range of environments.

This paper is an original work that is related to the author’s current doctoral research that considers how listening expands visual comprehension.

The purpose of this paper is to discuss the practice as research of a site-specific audio documentary project made while on a residency in North Iceland.

This project uses the application of a methodology of listening in the creation of the work.

The author claims that rather than focusing on the concept of voice in documentary, listening reveals the inherent ecology and inter-relatedness of the documentary materials.

A practice of listening in documentary making can reveal multiple co-existing relationships.

The purpose of this paper is to report research that sought to understand the requirements of information systems designed to support people engaged in creative intellectual activity. The research aimed to provide empirical evidence based on a case study of a particular arena of creativity, namely electro‐acoustic music composition. However, it also sought to identify issues that may apply more widely to other arenas of human creativity.

The research was based on a related series of three in‐depth studies of electro‐acoustic music composers at work. These studies entailed the collection of qualitative data from interviews, observations and “think aloud” protocols. These data were analysed inductively to reveal concepts and relationships that formed the basis for a model of interactions between the composers and the information systems with which they were working.

The paper presents a model of relationships between information system features and use, and the resulting effects in terms of the extent to which creativity was perceived by the composers to have been facilitated and inhibited. In particular, a number of tensions were identified which suggest that conventional “best practice” in the design of data‐intensive information systems may be fundamentally at odds with the requirements of such systems to support important aspects of creativity.

The limitations associated with in‐depth qualitative research based on small samples is acknowledged, relating in particular to its lack of ability to generalise on the basis of statistical probability. However, such an approach arguably offers the complementary strength of being particularly suited to exploratory research aimed essentially at charting new territory and identifying rich and possibly unanticipated constructs rather than testing hypotheses based on existing theory. The resultant findings, however, must remain tentative and provisional pending further systematic investigation designed to establish the extent to which they are generalisable.

As well as identifying limitations in conventional approaches to designing data‐intensive information systems, an alternative architecture is proposed which seeks better to map onto the requirements of creativity support. It is hoped that both the criticisms of conventional approaches and the proposed novel architecture may be of practical use to those engaged in the design of data‐intensive creativity support systems.

The research reported here offers a novel perspective on the design of information systems in that it identifies a tension between conventional “best practice” in system design and the requirements of important aspects of creativity support. It has the advantage of being based on the in‐depth observation of real composers in action over protracted periods of time. It also proposes a novel system architecture which seeks to avoid reduce such tensions.

The purpose of this paper is to demonstrate how practice-led research within the sonic practice references what Smith and Dean (2009) describe as the “The Iterative Cyclic Web,” and oscillations between different modes of research and practice throughout the methodology.

This paper uses this process to document the construction of a sonically based erotic artwork, “Almost there,” which used sonically controlled vibrators in order to generate vocal content.

The paper found that it was important to oscillate between modes of research and practice in order to create a conceptually concise artwork that functioned as a Gestalt of both practice and research.

The unique approach to audio collection within this sonic artwork, and the time taken to collect this source material, makes it a unique vehicle for the consideration of “The iterative Cyclic Web.”

The purpose of this paper is to explore a range of questions and problems pertaining to a sound-based project that the author began half-way through 2011. Called Daddy Diary, this archive-in-progress takes the form of a series of free-association audio monologues, produced by a first-time father, that are addressed to his adult-daughter of the future and that reflect upon their evolving familial relationship.

As is often the case with creative projects that are embedded in a plurality of ideological, material and temporal conditions, Daddy Diary requires an eclectic and para-humanities approach to its theorisation. By drawing from ethical, sociological, historical and pedagogical assemblages, this paper shows how Daddy Diary activates a non-hegemonic truth space wherein familial knowledge (tacit knowledge captured in the raw material of the voice recordings) participates in the sustainable and counter-institutional negotiation of self-concept.

Sound recording technologies have made accessible new ways of documenting human life-narratives, thus augmenting how notions of the self can be written, reviewed and shared with a creative learning community. Just as photography has been used in creative practice reinforce parental worth, playing into the experience of holding and letting go, so too does an audio diary provide the apparatus through which a parent may reflexively navigate death anxiety and the possibility of loss. Thus, this paper contains insight that may prove useful for other first-time fathers. It’s insight may also be of benefit to practice-led researchers wishing to understand how to translate non-institutional activity into a creative learning experience.

Just as the foregrounding of sound poses a challenge to the so-called dominance of visual cultural communication, so too can “listening” engage an alternative sensory perspective from which we “see” ourselves.

This study explores student sensemaking based on the creation and interpretation of sound on a public school bus, operating as a result of a desegregation settlement. To understand these multimodal literacy practices, the authors examined students’ journeys, sonically as passengers in mobile and adult-constructed space.

As a qualitative study, the authors used ethnographic methods for data collection. Additionally, the authors used a design-based research approach to work alongside students to capture and interpret sound levels on the bus.

Findings from this study illustrate how students used sounds as a means to create community, engage in agentic choices and make meaning of their surroundings. Moreover, students used sound as a way around the pervasive drone of the bus itself.

Research implications from this study speak to the need for research approaches that extend beyond visual observation. Sonic interpretation can offer researchers greater understanding into student learning as they spend time in interstitial spaces.

This manuscript illustrates possibilities that emerge if educators attune to the sounds that shape a learner’s day and the ways in which attention to sonic design can create more equitable spaces that are conducive to students’ learning and literacy needs.

This study demonstrates the use of sound as a means of sensemaking, calling attention to new ways of understanding student experiences in adult-governed spaces.