Publications since 2013

Doctoral Theses

Thomas Smith (PhD, Practice-based), Generic Artistic Strategies and Ambivalent Affect (2019)

Pia van Gelder (PhD), Esotech: Esoteric Instruments in the Arts (2019)

Kynan Tan (PhD, Practice-based), Rendering Computational Conditions: experiencing the relationality of data and algorithm through multisensory digital artworks (2019)

Emily Morandini (PhD, Practice-based), Modulating Earth & Sky: Extended Electronic Circuits in the Arts (2019)

Tim Bruniges (PhD, Practice-based), Topological Sound Fields: a practice-based investigation into live sound installation (2019)

Andrew Brooks (PhD), A Poetics of Interruption: fugitive speech acts and the politics of noise (2018)

Heather Contant (PhD), Electromagnetic Constellations: Walter Benjamin and the Collectivist Tendencies in Radio (2018)

Nathan Thompson (PhD, Practice-based), Organisation and Sound: Environmental Systems in Experimental Music (2017)


Caleb Kelly, Gallery Sound (Bloomsbury, 2017).

Douglas Kahn, Ecological Energies: Of Artists and Ecopaths (MIT Press, forthcoming)

Douglas Kahn, editor, Energies in the Arts (MIT Press, 2019)

Douglas Kahn, Earth Sound Earth Signal (Univ of California Press, 2013)

Lindsay Kelley, Bioart Kitchen: Art, Feminism and Technoscience (I. B. Tauris, 2016)

Book Chapters

Douglas Kahn, “Lightning,” in Experience: Culture, Cognition and the Common Sense, edited by Caroline A. Jones, David Mather and Rebecca Uchill (MIT Press, 2016).

Douglas Kahn, “Geology Without Geologists,” in Aesthetics After Finitude, edited by Prudence Gibson, et. al. (Melbourne: Re:Press, 2016).

Douglas Kahn, “Sound Leads Elsewhere,” The Routledge Companion to Sounding Art, edited Marcel Cobussen and Barry Truax (New York: Routledge,2016).

Douglas Kahn, “The Aoelian and Henry Thoreau’s Sphere Music,” The Auditory Cultures Reader, Volume Two, edited by Michael Bull (London: Berg Publishers, 2015).

Douglas Kahn, ‘Haines and Hinterding as Understood Through Lightning’, in Anna Davis (ed.), Energies: Haines & Hinterding, (Sydney: Museum of Contemporary Art Australia, 2015).

Douglas Kahn, ‘The Act of Hearing: A View on the Activity of Jacob Kirkegaard’, in Kirkegaard J (ed.), Jacob Kirkegaard: Earside Out, (Museet for Samtids Kunst, Narayana Press, Roskilde, 2015).

Douglas Kahn, ‘Reverse Icarus’, in Altena A; Belina M; van der Velden L (ed.), The Geological Imagination, (2015)

Douglas Kahn, “The Early Years: Interview with Christian Marclay” and “Surround Sound”, On & By Christian Marclay, edited by Jean-Pierre Criqui (MIT Press, 2014).

Douglas Kahn, “John Cage: Silence and Silencing,” Sounds Like Silence. John Cage – 4’33” – Silence Today, edited by Dieter Daniels and Inke Arns (Spector Books, 2013).

Douglas Kahn, ‘Media and the Sun in Theory’, in Smite R; Kluitenberg E; Smits R (ed.), Techno-Ecologies – Acoustic Space #11( Riga Centre for New Media Culture, 2014).

Douglas Kahn , ‘Revelation of Hidden Noises: Improbable Musical Instruments and Sound Devices in Early Twentieth Century Literature’, in Celant G (ed.), Art or Sound, (Progetto Prada Arte, Milan, 2014).

Douglas Kahn, 2013, ‘Let Me Hear My Body Talk, My Body Talk’, in Cubitt S; Thomas P (ed.), Relive: Media Art Histories, (MIT Press, 2013)

Caleb Kelly, “A Brief Introduction to the Sound Arts in Australia,” Sound Art, edited Peter Weibel (MIT Press, 2019).

Caleb Kelly, “Sound Full: Sound in Contemporary and New Zealand Art,” (Dunedin Public Art Gallery, 2013).

Lindsay Kelley, ‘Food’, in The Edinburgh Companion to Animal Studies (Edinburgh Uni Press, 2018).

Lindsay Kelley, ‘Cooking and eating across species: Natalie jeremijenko’s cross(x)species adventure club’, in The Taste of Art: Cooking, Food, and Counterculture in Contemporary Practices (University of Arkansas Press, 2017).

Lindsay Kelley, ‘Plumpiñon’, in The Multispecies Salon (Duke, 2014).

Jo Burzynska et. al., “Taste the Bass: Low Frequencies Increase the Perception of Body and Aromatic Intensity in Red Wine, in Auditory Contributions to Food Perception and Consumer Behaviour (Brill, 2019).

Journal Papers

Douglas Kahn; Macauley W, ‘On the Aelectrosonic and Transperception’, Journal of Sonic Studies, vol. 8, 2014.

Douglas Kahn, ‘Sound Art, Art, Music’, Tacet, vol. 3, 2014.

Caleb Kelly, “Sound as (More Than) Sound,” Journal of Sonic Studies, no.16, 2018,

Caleb Kelly & Ross Gibson, ‘Contemporary Art & The Noise of TENDING’, Interference: A Journal of Audio Culture, 2013.

Lindsay Kelley, ‘The Political Life of Cancer Beatriz da Costa’s Dying for the Other and Anti-cancer Survival Kit’, ENVIRONMENTAL HUMANITIES, vol. 9, 2017.

Andrew Brooks, “The Murmur of the Crowd,” Journal of Sonic Studies, no.18, 2019,

Andrew Brooks, “Glitch/Failure: Constructing a Queer Politics of Listening No Access,” Leonardo Music Journal, vol.25, 2015

Pia van Gelder, “Bodies and Energy, Circuits and Sound: Rethinking and Listening to Leon Ernest Eeman’s Relaxation Circuit with a Biosynthesiser,” Journal of Sonic Studies, no.16, 2018

Nathan Thompson, “Black Field Plates: Emergent Ecologies in Sonic Art No Access,” Leonardo Music Journal, vol.25, 2015.

Heather Contant, “Not at Home: The Uncanny Experiences of Radio Home Run,” Journal of Sonic Studies, no.16, 2018,

Heather Contant, “A Brief Introduction to Gremlins as Aesthetic Devices,” Leonardo Music Journal, vol.24, 2014.

Conference Presentations & Invited Talks

Douglas Kahn, “Between Cat’s Fur and Lightning,” Keynote presentation for Astro-Bio-Geo-Physical Music, Research Summit (chamber music festival research conference), University of Tennessee, Knoxville (June 2016).

Douglas Kahn, “Energies and Earth Magnitude in the Arts,” the University of Tasmania, Hobart (August 2015).

Douglas Kahn, “Earth-in-Circuit: Trees,” Energies in the Arts Conference, Museum of Contemporary Art Australia/National Institute for Experimental Arts, UNSW Sydney (August 2015).

Douglas Kahn, “The Case for Energies in the Environmental Arts and Humanities,” English and Theatre Studies Research Seminar speaking series, University of Melbourne (July 2015).

Douglas Kahn, “Sound Leads Elsewhere,” Royal Danish Academy of Fine Arts, Copenhagen (March 2015).

Douglas Kahn, “Sound: One Energy Among Others,” MaMa Arts Centre, Zagreb (March 2015).

Douglas Kahn, “Sound Leads Elsewhere,” Aarhus University, Aarhus (March 2015).

Douglas Kahn, “Energies at Earth Magnitude,” Sonic Acts 2015 Conference, Amsterdam (February 2015).

Douglas Kahn, Discussion “Earth Magnitude” panel (philosophy and geology) with Graham Harman, Timothy Morton, Mark Weller, Sonic Acts 2015 Conference, Amsterdam (February 2015).

Douglas Kahn, “Reverse Icarus,” Aesthetics After Finitude conference, National Institute for Experimental Arts, UNSW Sydney (February 2015).

Douglas Kahn, “Sound Matters: One Energy Among Others,” Gertrude Discipline and Liquid Architecture Lecture Series: Theories and Histories of Sound, Melbourne (August 2014).

Douglas Kahn, “The Ear is a Brain,” text performance, Liquid Architecture, Sydney (October 2014).

Douglas Kahn, “Sound Matters: One Energy Among Others,” Theories and Histories of Sound lecture series (Gertrude Contemporary, Discipline [journal], and Liquid Architecture), Melbourne (August, 2014).

Douglas Kahn, One-week international online discussion of Earth Sound Earth Signal, -empyre- list, (June 2014).

Douglas Kahn, “Reverse Icarus,” Affective Habitus: New Environmental Histories of Botany, Zoology and the Emotions, Australian National University (June 2014).

Douglas Kahn, “Sound Matters: One Energy Among Others,” Gertrude Contemporary, Melbourne (August 2014).

Douglas Kahn, “Sound Leads Elsewhere,” Museum of Contemporary Canadian Art, Toronto (May 2014).

Douglas Kahn, “Aelectrosonics and Experimental Music,” Wesleyan University (October 2013).

Douglas Kahn, Writing History and Theory beginning with Artists,” University of Delaware (October 22, 2013).

Douglas Kahn, “The Arts of Energetics,” Renew: Media Arts Histories Conference, Riga (October 2013).

Douglas Kahn, “Earth’s Functional Sounds,” Inaugural Keynote, European Sound Studies Association First International Conference (October 2013).

Caleb Kelly, ‘The Sound of (Dirty) Materials’, Dirt, Punk, Trash, University of Amsterdam (December 2016).

Caleb Kelly, ‘The Sound of (Dirty) Materials’, presented at XXIII Festival Internacional de Arte Sonoro y Musica Electroacustica, Universitat Politecnica de Valencia, Spain (November 2016).

Caleb Kelly, ‘Walking and listening in the contemporary art gallery’, presented at Translational Research in Creative Practice, University of Queensland, Brisbane (November 2016).

Caleb Kelly, ‘The Empty Sounding Gallery: Embodied Audiences in the Art Space’, Autotune Everything: Art and the Sonic, Melbourne (August 2016).

Caleb Kelly,“Intervention and Isolation: Sound in Public Art Space,” Aisthesis and the Common: Reconfiguring the Public Sphere, McGill University, Montreal (March 2016).

Caleb Kelly, “Noise in the Gallery: Intervention and Isolation in the Gallery Arts,” die Reihe, Technische Universität Berlin & Universität der Künste Berlin (July 2015).

Caleb Kelly, “The Empty Sounding Gallery: Embodied Audiences in the Art Space,” Sound Studies: Art, Experience, Politics, The University of Cambridge (July 2015).

Caleb Kelly, “Dirt[y] Media,” Sonorities, Goldsmiths, the University of London (April 2015).

Caleb Kelly, “Dirt[y] Media,” The University of Tromsø, Norway (April 2015).

Caleb Kelly, “Noise in the Gallery: Intervention and Isolation in the Gallery Arts,” The University of Amsterdam (June 2015).

Caleb Kelly, “Listening: the practice of close listening in sound culture,” Cultural Studies and the New Uses of Literacy, UNSW, Sydney (April 2014).

Caleb Kelly, “Dirty Media,” Creative Imperfections, The University of Amsterdam (November 2013).

Caleb Kelly, Plenary, “Sound Studies: Between Media,” Modern Soundscapes Conference, UNSW, Sydney, (Sept 2013).

Lindsay Kelley, ”Tasting History: Sampling the Bug Out Bag’, presented at The Participatory Environmental Humanities (July 2017).

Lindsay Kelley, ‘Hardtack: Tasting Temporalities of Colonial Violence’, presented at 2017 Annual Meeting of the Society for Literature, Science, and the Arts (November 2017).

Lindsay Kelley, ‘Dying for the Other: Shifting relations between antiauthoritarian resistance and the pharmakon’, presented at Derrida Today  (June 2016).

Lindsay Kelley, ‘Geophagy and Nourishing Indigestion’, presented at Going to Ground: A workshop on the social life of soil, earth & land, (October 2016).

Lindsay Kelley, ‘Anti-Cancer Survival Kit: Toxic embodiment and ‘posthumanarchy”, presented at Global Ecologies, Local Impacts: The Sixth Biennial Conference of the Association for the Study of Literature, Environment & Culture, Australia & New Zealand (ASLEC) (November 2016).

Lindsay Kelley, ‘Extreme Baking: Toward an anticolonial ingestion of hard tack’, presented at Feminist, Queer, Anticolonial Propositions for Hacking the Anthropocene, Sydney NSW (April 2016).

Lindsay Kelley, ‘Bad Ecosex with Common Wheat’, presented at Technicity, Temporality, Embodiment: The 10th International SomaTechnics Conference, Byron Bay NSW (November/December 2016).

Lindsay Kelley, ‘Digesting Wetlands: Cooking and Eating Across Species’, presented at The Third International Conference on Transdisciplinary Imaging at the Intersections of Art, Science and Culture, Istanbul, Turkey (June 2014).

Claudia Arozqueta, “Son et Lumière: The Body as a Performance Instrument,” RE:SOUND, 8th International Conference on the Histories of Media Arts 2019 – Aalborg, Denmark (2019).

Andrew Brooks, “Contagion: toward a theory of flows”, Electronic Visualisation and the Arts Australasia, University of Canberra, Canberra, (2016)

Andrew Brooks, “Impassive Gestures: negativity and a queer politics of listening,” Cultural Studies Association of Australia Conference, Melbourne (2015).

Emily Morandini, “Between Earth and Sky: Exploring Environmental Electricity through the Artworks of Joyce Hinterding and Martin Howse,” Balance Unbalance Manizales, Colombia (May 2016).

Peter Blamey, “PV Aesthetics,” Energies in the Arts, MCA/UNSW, 2015.

Heather Contant, “A Constellation of Energies in German Radio, April 1930,” Energies in the Arts, MCA/UNSW, (August 2015).

Pia van Gelder, “The Sydney Pythagorean Music Society and the Magic Potency of Sound,” RE:SOUND, 8th International Conference on the Histories of Media Arts 2019 – Aalborg, Denmark (2019).

Pia van Gelder, “Alexander Hector’s Colour Music Instruments and His Correlation of the Sciences,” Energies in the Arts, MCA/UNSW, (August 2015).

Joyce Hinterding & David Haines, Keynote, Energies in the Arts, MCA/UNSW, (August 2015).

Nathan Thompson, “Living Systems: The work of Emily Morandini and Allan Lamb,” Energies in the Arts, MCA/UNSW, (August 2015).

Nathan Thompson, “Natural Systems in Experimental Music Composition,” Between Universal and Local: From Modernism to Post Modernism, University of Ljubljana (2015).

Vincent Wozniak-O’Connor, “Electrobotany: Tree Microphones and Plant Audio Interfaces,” Energies in the Arts, MCA/UNSW, (August 2015).

Exhibition Catalogue Essays 

Caleb Kelly, Immateriality, Sound and the Art Gallery, AUDIOSPHERE: Social Experimental Audio, Reina Sofía National Museum of Contemporary Art, Spain (forthcoming, 2020)

Caleb Kelly, Tangible/Intangible: The Sound of Sculpture, Statements, Govett-Brewster Art Gallery (Forthcoming, 2019)

Caleb Kelly, “Assembling Music,” Angelica Mesiti, Assembly, Australian Pavilion at the Venice Biennale Catalogue, Australia Council for the Arts (2019)

Caleb Kelly, “Material Sound: Sound as more than Sound,” Material Sound (catalogue), Murray Arts Museum Albury (2018)

Caleb Kelly, “Between Air and Electricity: Microphones and Loudspeakers as Musical Instruments,” Journal of Sonic Studies (2018)

Caleb Kelly, “Everyday Materials: Ross Manning’s Dissonant Materiality,” Dissonant Rhythms, Institute of Modern Art (2017)

Caleb Kelly, Materials, Das Super Paper, no.33, Kelly C, (ed.) (2014)

Caleb Kelly, “Thoughts on the Representation of Sound,” Wolf Notes (2014)

Caleb Kelly, “Sound Full: Sound in Contemporary Australian and New Zealand Art,” Sound Full, Dunedin Public Art Gallery (2013)

Exhibitions Curated

Caleb Kelly, Materials, Sounds + Black Mountain College, Black Mountain College Museum, Asheville NC (June-August 2019).

Caleb Kelly, Material Sound, MAMA, Albury  (February 2018).

Caleb Kelly & Aaron Kreisler, Sound Full: Sound in Contemporary Australian and New Zealand Art, Dunedin Public Art Gallery, Dunedin, New Zealand, 2012 & City Gallery, Wellington 2013.

Exhibited Works and Performances

Andrew Brooks & Kynan Tan, Sculptures: 5, The Auricle, Christchurch, NZ, 2015.

Andrew Brooks & Kynan Tan, Sculptures: 4, Firstdraft, Sydney, 2014.

Pia van Gelder, Relaxation Circuit, Underbelly Festival, Cockatoo Island, Sydney, 2015.

Pia van Gelder, ‘Relaxation Circuit,’ Liquid Architecture Festival, West Space, Melbourne, August 2015 .

Pia van Gelder, Psychic Synth, Performance Space, Sydney, Australia, August 2014.

Pia van Gelder & Stephen Jones, Tetrasynth, Catching Light at ISEA2013, Campbelltown Arts Centre, 2013

Pia van Gelder, Andreas Siagian, & Michael Candy, Mountain Operated Synthesiser, Instrument Builders Project Residency, presented at iCan, Yogyakarta, 2013

Pia van Gelder, Eyes Without A Face, NSW Emerging Visual Artists Fellowship, Artspace, Sydney, 2013,

Pia van Gelder, Television Behaviour Studies, Performance for live television broadcast at Carraigeworks, Sydney, 2013

Nathan Thompson, Pollen, SNO gallery Sydney, January 2015.

Nathan Thompson, feedback systems, Drawing Conclusions, curated by Klaas Hoek, Utrecht Graduate School of VisualArt and Design, 2015.

Emily Morandini, Source & Return, First Draft, July 2017.

Emily Morandini, Nathan Thompson, Peter Blamey, In Fields, 55 Sydenham Rd Sydney, November 2015.

Tim Bruniges, Drum Room, Westspace, Melbourne, 2013.

Tim Bruniges, Continuum, MONA, Hobart 2013.

Tim Bruniges, Oscillator, Big Law Country Club, New York, 2013.

Tim Bruniges, Mirrors, Signal, New York, 2014.

Tim Bruniges, Piano, Firstdraft, Sydney, 2014.

Tim Bruniges, Horses, Chasm, New York, 2015.

Tim Bruniges, Normalise, Knockdown Centre, New York, 2015.

Tim Bruniges, Drones, Galerie pompom, Sydney, 2016.

Vincent O’Connor, Millionth Acre, Primavera: Young Australian Artists, Museum of Contemporary Art, Sydney, 2015.


Caleb Kelly (ed.), “Materials of Sound,” Journal of Sonic Studies, no.16, 2018,

Caleb Kelly (ed.), ‘Materials,’ Das Super Paper 33, November 2014. (special issue with contributions from members of the group)