Abstract Study in three phases is an adaptive site-specific sound installation that includes 22 solenoids placed on metallic arches that surround visitors and react to environmental perturbations, creating a self-regulating soundscape of metallic hits that serves to renew the visitors’ acoustic perspective. Adaptivity is a crucial aspect of the work: Similar perturbations will not generally cause similar reactions from the installation based on past interactions, thus allowing evolution over time to play a key role artistically and technically. This article discusses the author's position on adaptivity in music interaction and composition and reports on the technical and artistic aspects of the installation.

The author recounts how she came to carry out artistic research on guitar multiphonics when composing a piece for solo guitar. She explains how the investigation gave rise to a new form of usage of that unconventional technique.

This article investigates a turn from eye to ear in the literature and practice of walking-as-art. Arguing for listening as a feminist and ecologically oriented mode of engaging with the world, the author examines the practice of soundwalking (Westerkamp) and Deep Listening (Oliveros), placing them in conversation with the work of Michel de Certeau, and concludes with a discussion of the creative projects of Suzanne Thorpe, Viv Corringham and Amanda Gutierrez in order to chart the importance of relational listening practices today.

The Beat Machine is a handheld music synthesizer and sequencer. The authors discuss the development of the Beat Machine and how creative constraints and opportunities were introduced by the particularities of low-cost microprocessors and associated electronics. The discussion is framed as an exemplar of Kåre Poulsgaard's concept of enactive individuation, a framework for relating material engagement to digital design and fabrication. In reflecting on the design and making of the Beat Machine the authors connect this framework with more established notions of creative interaction and the affordances of digital media.

In this article the authors present their sound art project Nephew vs. Overheard as an exploration of a messy, fragile and incoherent local approach to public ecological art, an approach that aims at creating links of affectivity with technological creatures, such as large wind turbines, with which we share our landscape. Supplementing, as well as challenging, the dominant global strategy of ecological art, the authors argue that it is essential to experiment with transductive chains of local environmental data, creating sensibilities that we can relate to in our everyday environments.

The author discusses SLANT, an improvisation-based project he coconceived, recorded and performed on tenor saxophone in duo with pianist and new music specialist Richard Valitutto. The project deconstructs sound worlds such as late nineteenth-century Romanticism, avant-garde/free jazz, microtonal spectralism and southeast European rural music. Drawing on George Lewis's systems of improvisative musicality, the article analyzes SLANT through the lens of sociomusical experience. The author shows how Afrological, Eurological and other systems of musicality participate together, manifesting in dialogical improvisative music-making that emerges from multiethnic and multicultural histories of improvised music.