River Listening is an interdisciplinary research project exploring the cultural and biological diversity of global river systems through sound. The project examines the creative possibilities of accessible and noninvasive recording technologies to monitor river health and engage local communities in the conservation of global river systems. River Listening combines emerging fields of science with acoustic ecology, creativity and digital technology to further the understanding of aquatic biodiversity and inspire action at a time when the conservation and management of freshwater ecosystems is a critical priority.

In the last decades, the blurring of boundaries between artists, curators, venues and audiences has created an entirely new ecology where nearly every phase, every aspect, and every role embodied in contemporary art practice is profoundly changing in previously unanticipated ways. Alternate strategies performed in the creation and presentation of emerging eco art projects definitely illustrates this premise.

It is presented a reflection on the possibilities that Art can have in engaging audiences across the world on activities that foster consciousness and responsibility concerning the future of the Earth. Through interactivity enabled by technology one can propose projects with young artists and observe the impact that Art can have in their lives and the way they face the ever-changing society, its processes/products and how these can affect the environment. A virtual object presented by our research group will be the focus of our theorization concerning: Data, Science and Eco Action looking at Art and Technology through interactive art objects.

Alvin Curran (1938—) has always spent time near bodies of water and this fact has arguably left a mark on his compositions from his important work Songs and Views of the Magnetic Garden (1975) for live performance and sounds of gentle water waves, which Curran recorded on tape, to his ongoing series Maritime Rites (ca. 1975—) for musicians in boats on bodies of water. This essay examines Curran’s use of water as a compositional resource while also considering ideas such as music outside of the concert hall and building environmentally attuned communities.

Artistic practices of data collection frequently reconfigure the ways in which we imagine ecosystems to operate. The interventions the author discusses here explore atmospheric conditions through visualization and sonification of data collected about phenomena indirectly experienced by the viewer. Each of the projects examined in this paper specifically address the unbalancing effects on the land and atmosphere of the byproducts of human technologies. Additionally, these artworks demonstrate how human subjectivity cannot simply encapsulate experience of the world as if from an outside perspective, but must be incorporated into the greater environmental systems of which it is a part.

This paper discusses Leslie Sharpe’s sound and sculpture installation project “Beak Disorder,” exhibited at Manizales, Columbia for Balance-Unbalance 2016. The work addresses how anthropogenic climate change may be affecting birds in the Pacific Northwest regions of Canada and the United States. “Beak Disorder” is a project that references an unexplained condition documented in birds in the Northwest of Canada and Alaska called “avian keratin disorder” where the bird’s beak becomes distorted and elongated. The work includes a series of 3D printed distorted beaks as well as a sound piece and web component.

This report addresses the impact of climate change on cultural production among Kazakh mobile pastoral herders in the Altai Mountains of western Mongolia. It highlights the body of ecological knowledge that herders carry from generation to generation and express in their music, instruments, textiles, and heritage actions such as work patterns and social gatherings. Extreme weather events, loss of water sources, and desertification have deeply impacted herders and this is expressed in their cultural forms. The study engages with rangeland and climate science and draws on the author’s fieldwork with Kazakh herders in Mongolia.

The Live Audio Archive is the shifting pool of real-time audio available online. Each year on International Dawn Chorus Day, SoundCamp draws on these materials for Reveil: a 24-hour broadcast of live sounds of daybreak that loops the earth with the Grey Line of twilight. Reveil brings remote ecological and acoustic projects together in a tour of this emerging field. Technical resources developed for the project are applicable to both ecoacoustics and musical composition. Affordable and simple, they have potential to create an extended and diversified open microphone network as a resource for researchers, artists and activists.

Inserted in the field of art in dialogue with climate changes research and, particularly, the social impacts in contemporary society, this paper presents the contribution of performative researchers in this area of discussion. It also presents the actions and artistic intervention realized by Sensitive Territories project.

In this paper the authors describe the pioneering robot designed by Arcangel Constantini, called the Nanodrizas (2006). Nanodrizas is a cluster of small robots resembling extraterrestrial flying objects. They are introduced into an ecosystem for water recycling, among other effects. The result of a seriocomic robotic device like the Nanodrizas is to make the viewer aware of the specific technology that would one day allow humans to invite machines and artificial life-systems to save an environment that is precariously balanced on the edge.