Publications

Publications since 2013

Books

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, forthcoming)

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

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 (Cambridge: 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 (Leipzig: 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, Riga, Latvia, 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, forthcoming).

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

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

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

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

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,” 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).

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, “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).

Exhibitions Curated

Caleb Kelly, Material Sound, MAMA (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.

Other

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