Leah Barclay | PUBLICATIONS
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PUBLICATIONS

Leah Barclay’s monograph ‘Sonic Ecologies: Exploring the World through Sound‘ will be published in 2021 along with her edited collection ‘River Listening: Interdisciplinary Perspectives on Freshwater Soundscapes’ which features artists, scientists, indigenous elders and community leaders talking about freshwater ecology, water rights and new methods for ecological engagement and climate action. Explore publication highlights below or use the contact form to request a full CV. Many of Leah’s text publications are available via Research Gate and creative works are available through The Australian Music Centre where Leah is a represented composer / sound artist.

 

 

SCHOLARLY BOOK CHAPTERS

Barclay, L. (2019). Acoustic ecology and ecological sound art: Listening to changing ecosystems. In M. Droumeva and R. Jordan (Eds.), Sound, Media, Ecology. London, UK: Palgrave Macmillan.

Barclay, L. (2018). The agency of sonic art in changing climates. In S. Emmerson (Ed.), The Routledge Research Companion to Electronic Music: Reaching out with Technology. London, UK: Routledge.

Barclay, L. (2016). River listening. In F. Bianchi & V. Manzo (Eds.), Environmental Sound Artists. New York, USA: Oxford University Press.

Barclay, L. (2018). Artistic and scientific explorations in biophony. In J. Blevins, B. Blevins and S. Hyatt (Eds.), Metaphonics: The Field Works Listener’s Guide. London, UK: Jap Sam Books.

Barclay, L. (2017). Sounding Zameen. In V. Tomlinson and T. Wren (Eds.), Here and now: Artistic research in music: An Australian perspective (pp. 118-131). New York, USA: Intelligent Arts.

 

REFEREED JOURNAL ARTICLES (SELECT)

Barclay, L. (2019, in press). Listening to aquatic ecosystems: Hydrophonic discoveries enhancing conservation in freshwater and marine environments.

Towsey, M., Barclay, L., & Brock, G. (2018). Visualizing the soundscape of the calving grounds of the North Atlantic Right Whale. TEXT Special Issue No 45 Anticipatory Imaginaries: Dialogues between Academic Research and the Creative Imagination.

Deichmann, J., Acevedo-Charry, O., Barclay, L., Burivalova, Z., Campos-Cerqueira, M., d’Horta, F., Game, E., Gottesman, B., Hart, P., Kalan, A., Linke, S., Nascimento, L., Staaterman, E., & Aide, T. (2018). It’s time to listen: There is much to be learned from the sounds of tropical ecosystems. doi:10.1111/btp.12593.

Linke, S., Gifford, T., Desjonquères, C., Tonolla, D., Aubin, T., Barclay, L., Karaconstantis, C., Kennard, M., Rybak, F., & Sueur, J. (2018). Freshwater ecoacoustics as a tool for continuous ecosystem monitoring. Frontiers in Ecology and the Environment. dio:10.1002/fee.1779.

Barclay, L. (2017). Listening to communities and environments. Contemporary Music Review, 36 (3), 143-158. dio:10.1080/07494467.2017.1395140.

Barclay, L. (2017). Augmenting urban space with environmental soundscapes and mobile technologies. Soundscape – The Journal of Acoustic Ecology, 16(2), 21-34.

Barclay, L., & Gifford, T. (2017). Acoustic ecology in UNESCO biosphere reserves. The International Journal of UNESCO Biosphere Reserves. V1 (1), Viewscape Publishing.

Barclay, L., Gifford, T., & Linke, S. (2017). River listening: Acoustic ecology and aquatic bioacoustics in global river systems. Leonardo. doi:10.1162/leon_a_01516.

Barclay, L., & Gifford, T. (2017). The art and science of recording the environment. doi:10.1162/LEON_a_01517.

Bandt, R., & Barclay, L. (2017). Sonic activism in the antipodes. paradoxa: international feminist art journal, 40(1), 94-103.

Barclay, L. (2014). Biosphere soundscapes. Leonardo. doi:10.1162/LEON_a_00820.

Barclay, L., & Davis, S. (2014). A balanced approach to local and global action. Leonardo. doi:10.1162/LEON_a_00816.

Barclay, L. (2013). Sonic ecologies: Exploring the agency of soundscapes in ecological crisis. Soundscape – The Journal of Acoustic Ecology, 12(1), 29-32.

 

FULLY REFEREED CONFERENCE PROCEEDINGS (SELECT)

Barclay, L., Iregui, M. (2019, in press). Listening to invisible ecosystems: Live streaming audio from freshwater and marine environments. Proceedings from the 2019 Australasian Computer Music Conference. Monash University, Melbourne, Australia.

Barclay, L., Towsey, M. (2019, in press). Visualising the soundscapes of inaudible ecosystems. Proceedings from the 2019 Australasian Computer Music Conference. Monash University, Melbourne, Australia.

Barclay, L. (2018), Listening to ecosystems. Proceedings from The Global Composition conference on sound, ecology and media culture. Dieburg, Germany: Darmstadt University of Applied Sciences.

Barclay, L., Sur, S., Davis, L., Vieira, L & Gifford, T. (2017). Island nex(us) – Arquipélago. Proceedings from the 2016 International Conference Invisible Places: Sound, Urbanism and a Sense of Place. Portugal, Azores: Sao Miguel Island.

Barclay, L. (2017). The transdisciplinary possibilities of acoustic ecology in local and global communities (Invited keynote address). Proceedings from the International Sound + Environment Conference: Art, Science, Listening, Collaboration. Hull, UK: University of Hull.

Barclay, L. (2016). Acoustic ecology in action: Climate change, cultural change and media aesthetic education (Invited keynote address). Proceedings from the Disseminations: Media Cultural Practices for the Digital Age International Symposium, Dieburg, Großer Saal, Germany: Museum Schloss Fechenbach.

Barclay, L., Paine, G., Feisst, S., & Gilfillan, D. (2015). The listen(n) project: Acoustic ecology as a tool for remediating environmental awareness. Proceedings from the 21st International Symposium on Electronic Art (ISEA2015), Vancouver, Canada: Simon Fraser University.

Barclay, L., Gifford, T., & Linke, S. (2015). River listening: Creative approaches to aquatic bioacoustics in Australian river systems. Proceedings from the Balance-Unbalance 2015 International Conference: Water, Climate, Place – Reimagining Environments. Arizona, USA: Arizona State University.

Barclay, L., Feisst, S., Gilfillan, D., & Paine, G. (2014). The listen(n) project: Acoustic ecologies of the American Southwest Desert(s) and transmedia dissemination. In R. Castro, & M. Carvalhais, (Eds.), Proceedings from Invisible Places, Sounding Cities: Sound, Urbanism and Sense of Place. Viseu, Portugal: Jardins Efémeros.

Barclay, L., Gifford, T., & Linke, S. (2014). River listening. In R. Castro, & M. Carvalhais (Eds.), Proceedings from Invisible Places, Sounding Cities: Sound, Urbanism and Sense of Place. Viseu, Portugal: Jardins Efémeros.

Barclay, L., Gifford, T., & Linke, S. (2014). Listening to the Thames. Proceedings from Electronic Visualisation and the Arts (EVA 2014). London, UK: British Computer Arts Society.

Feisst, S., Barclay, L., Gilfillan, D. & Paine, G. (2014). The listen(n) project: Virtual embodied experiences of the American Southwest Desert(s). Proceedings from Under Western Skies 3: Intersections of Environments, Technologies, and Communities. Calgary, Canada: Mount Royal University.

Barclay, L. (2013). Biosphere Soundscapes: The rainforests of brazil to the coastlines of Australia. Proceedings of the 2013 International Computer Music Conference (pp. 252-354). Perth, Western Australia: The International Computer Music Association.

Barclay, L. (2012). Inter[active]: Artists as agents of change. In M. Hitchcock & J. Taylor (Eds.), Proceedings of Interactive, the Australasian Computer Music Conference 2012 (pp. 85-89). Brisbane, Australia: Australasian Computer Music Association.

Barclay, L. (2012). Shifting paradigms: Towards an auditory culture. Proceedings of Machine Wilderness, 18th International Symposium on Electronic Art (pp.17-22). Albuquerque, New Mexico: ISEA.

Barclay, L. (2012). The agency of soundscapes in ecology crisis. In S. Breitsameter & C. Söller-Eckert (Eds.), The Global Composition, Conference of Sound Media and the Environment (pp. 367-371). Darmstadt, Germany: Hochschule Darmstadt.

Barclay, L. (2012). Biosphere soundscapes. In S. Breitsameter & C. Söller-Eckert (Eds.), The Global Composition, Conference of Sound Media and the Environment (pp. 372-374). Darmstadt, Germany: Hochschule Darmstadt.

 

OTHER PUBLICATION OUTPUTS – UNESCO REPORTS (UNESCO CONSULTANCIES 2013 – 2016)

Barclay, L. (2016). Interdisciplinary creativity and mobile technologies in changing climates. Report for the 2nd Huangshan Dialogue for UNESCO Sites, Climate Change and Sustainable Development, September 11-15 2016 in Anhui Province, China: HIST (The International Centre on Space Technologies for Natural and Cultural Heritage), UNESCO and the Chinese Academy of Sciences.

Barclay, L. (2015). Synthesizing experiences of UNESCO biosphere reserves: Inspiring resilient communities through creativity (86-page report and six audio-visual documentary case-studies). Jakarta, Indonesia: UNESCO Regional Bureau for Science in Asia and the Pacific.

Barclay, L. (2015). UNESCO biosphere reserves as learning laboratories for sustainability: outcomes from the 2015 Asia-Pacific masterclass series (60-page report, video documentation and e-learning platform). Jakarta, Indonesia: UNESCO Regional Bureau for Science in Asia and the Pacific.

Barclay, L. (2014). Lessons learned from fieldwork and participatory action research in UNESCO biosphere reserves. Asia-Pacific Workshop on Strengthening Capacity for Management of Biosphere Reserves and Protected Areas. Siem Reap, Cambodia, 15 – 19 December 2014: UNESCO Offices in Jakarta, Phnom Penh and Beijing Ministry of Environment and Kingdom of Cambodia.

Barclay, L., & Hoang, T. (2013). Madrid Action Plan (MAP) implementation and role of biosphere reserves in shaping the future we want for all. Strategic Meeting of the Asia-Pacific Biosphere Reserves Networks (APBRN), 22-25 April, 2013, Hanoi, Vietnam: Man and the Biosphere Program National Committee.

 

OTHER PUBLICATION OUTPUTS – MAJOR CREATIVE WORKS (SELECT)

Barclay, L. (2019), River Listening from Source to Sea, Floating Land 2019 Point to Point (live streams and sound maps accessed via boat tours, sound walks and kayak expeditions)

Barclay, L. (2019). Requiem for the Reef. Interactive surround sound installation with ecoacoustic data from the Great Barrier Reef presented at Digitising Heritage International Symposium Ruprecht-Karls-University Heidelberg at the International Academic Forum (IWH), September 2019, Baden-Württemberg, Germany.

Barclay, L. (2019). River Listening Brisbane Powerhouse. Augmented reality audio installation with live hydrophones in the Brisbane river. Commissioned for Curiocity Brisbane – curious encounters with science, the arts and technology, Queensland, Australia.

Barclay, L. (2019). The Language of Plants. Interactive live performance for Janet Laurence’s exhibition After Nature, Museum of Contemporary Art, Sydney, Australia.

Barclay, L. (2018). Requiem for the Reef. Interactive surround sound installation with ecoacoustic data from the Great Barrier Reef. Commissioned for the 2018 Australian Anthropological Society (AAS) conference, The Cairns Institute, James Cook University, Cairns, Queensland, Australia.

Barclay, L. (2018). Migration Patterns: Pacific. Interactive sound installations for The Global Composition conference on sound, ecology and media culture. Darmstadt University of Applied Sciences, Dieburg, Germany.

Barclay, L. (2018). Migration Patterns: from Freshwater to Saltwater. Immersive sound installation for 2018 Spectra exhibition commissioned by the Australian Network for Art and Technology and Experimenta, SASA Gallery, Adelaide, South Australia.

Barclay, L. (2018). Listening Underwater. Interactive sound installation and immersive performance commissioned for Horizon Festival, Mooloolaba Beach, Queensland, Australia (winner of the Queensland Award for Excellence in Experimental Music at the 2019 APRA AMC Art Music Awards).

Barclay, L. Adame, F., Fuks, S., Cunningham, J. (2018). Wetland Wander. Soundscapes for Immersive touring exhibition exploring the environmental value of wetlands, commissioned by Advance Queensland Engaging Science Grant Program for National Science Week 2018, Brisbane, Australia.

Barclay, L., & Shakthidharan, S. (2018). LAKA (360 exhibition, feature film and virtual reality trilogy) commissioned by CuriousWorks (Sydney) and Streaming Museum, New York City, USA.

Barclay, L. (2017). Migration Patterns: Salt Water. Immersive interactive sound installation drawing on acoustic data from marine ecosystems, commissioned for In Extremis at Arts House Melbourne, Australia.

Barclay, L., & Shrestha, D. (2017). 5C for tabla, sonification and live electronics. Transplanted Roots International Percussion Research Symposium, Brisbane, Australia.

Barclay, L. (2017). Aurality. 100 original soundscapes GPS activated and streamed through a custom mobile application along the coastline of Queensland. Commissioned for the 2017 Queensland Music Festival, Queensland, Australia.

Barclay, L. (2017). Intrinsic Connections. 16 channel 20-minute live performance with scientific field recordings from the Great Barrier Reef, commissioned for Sound + Environment 2017, UK City of Culture and BBC Radio 3 at the University of Hull, UK.

Barclay, L. (2017). River Listening Hull. Augmented reality sound installation commissioned for Sound + Environment 2017, UK City of Culture and BBC Radio 3 at the University of Hull, UK.

Barclay, L. (2017). Listening Underwater. Immersive live performance commissioned for the opening on the Earth Optimism Summit, Smithsonian Museum, Washington, DC, USA.

Barclay, L., Sur, S., Davis, L., & Gifford, T. (2017). Island Nex(us): Arquipélago. Augmented reality interactive sound walk commissioned for Invisible Places International Conference, São Miguel island, Azores Islands, Portugal.

Barclay, L. (2017). Sonic Reef. Interactive augmented reality sound walks with ecoacoustics data from the Great Barrier Reef. World Science Festival Brisbane, Queensland, Australia.

Barclay, L. (2017). Amazon Rainforest Dome. Interactive sound environment with spatial sound recordings. Commissioned by Rainforest Partnership for Earth Day, Austin, Texas, USA.

Barclay, L. (2015-2017). River Listening Installation. Augmented reality sound installation with 45-minute geo-locative soundscape composition along global river systems with live hydrophones. High impact invitations include COP21 (Paris), Climate Week (USA), NIME2016 (Australia), World Science Festival Brisbane (Australia) and International Society for Ecoacoustics (USA).

Barclay, L. (2016). Temporal Encounters. Immersive interactive live performance featuring field recordings from six UNESCO Biosphere Reserves commissioned for International Atmospheres Conference, Brown University, Providence, USA.

Barclay, L. (2016). Shazam Rainforest – London. Commissioned by Rainforest Partnership and Shazam for Mindshare’s sixth Huddle in November 2016, London, UK.

Barclay, L. (2016). Interactive 3D sound installation commissioned for the Disseminations Symposium in Germany. High impact invitations include Earth Optimism Summit (Smithsonian), World Science Festival Brisbane. Acquired by the RMIT University Sound Art Collection in 2017.

Barclay, L. (2015-2017). Rainforest Listening: CANOPY 2.0. Interactive augmented reality installation layering the Amazon Rainforest in urban environments. Commissioned by Rainforest Partnership for Climate Week NYC 2015, high impact invitations include SXSW Interactive (Austin, 2016), Earth Day Texas (April, 2016) and the International Symposium for Art, Science and Metaphysics (London, May 2016).

Barclay, L. (2015). WIRA – River Listening, Floating Land 2015, Noosa Biosphere Reserve, Queensland, Australia. (National finalist for the 2016 APRA Art Music Awards for Excellence in Experimental Music).

Barclay, L., & Shakthidharan, S. (2015). Emergence Soundscapes. Immersive audio-visual installation commissioned by Carriageworks Sydney for 24 Frames Per Second exhibition High impact invitations include Streaming Museum, A View from the Cloud exhibition, Norway.

Barclay, L. (2015). Rainforest Listening – Eiffel Tower. Four interactive layers of tropical rainforest soundscapes mapped to the four platforms of the Eiffel Tower for ArtCop21, Paris, France.

Barclay, L. (2014). Stretched Geography. Electroacoustic composition commissioned by One Beat Echo, December 2014, Los Angeles, USA.

Barclay, L. (2014). Sonic Explorers Installation. Commissioned by the IUCN (International Union for Conservation of Nature) for the 2014 IUCN World Parks Congress in Sydney, Australia.

Barclay, L. (2014). Ground Interference. Multi-channel electroacoustic composition commissioned by Arizona State University, premiered at the 2014 Listen(n) Symposium at Arizona State University, Tempe, Arizona, USA.

Barclay, L. (2014). River Listening. Immersive sound installation featuring 12 global river systems, premiered at Arizona State University Art Museum, October 2014, Arizona, USA.

Barclay, L., Gifford, T., & Linke, S. (2014). Listening to the Thames. Interactive sound installation for EVA London International Conference, 25th Anniversary, July 2014, London, UK.

Barclay, L. (2014). Sound Mirrors/Pacific Shortcuts. Interactive installation commissioned for Pacific Shortcuts [2], Siva Zona Gallery, Korčula, Croatia.

Barclay, L. (2014). Performance installation for mixed choir and live electronics commissioned by the Australian Voices, premiered at New York University with Ear to the Earth for World Water Day 2014 at Hydrosonics, New York, USA.

Barclay, L. (2013). Seventy-Nine Waves of Ganga (River) Knowledge. Commissioned by Chronology Arts, premiered at the Seymour Centre, Sydney, Australia.

Barclay, L. (2013). Shifting Nature. Multi-channel electroacoustic composition for ISEA2013, premiered at the ABC, Sydney, Australia.

Barclay, L. (2013). Zameen. Original surround sound score commissioned for The DAM(N) Project at Parramasala International Contemporary Arts Festival, Sydney, Australia.

Barclay, L. (2013). Sound Mirrors South Africa. Interactive installation for Hearing Landscapes Critically International Conference, South Africa.

Barclay, L. (2013). Vedic Remnants. Interactive live performance for Encounters India Festival, Brisbane and ISEA2013, Dubai.

Barclay, L., & Shakthidharan, S. (2013). The Dam(n) Project (score). Live performance for Encounters India Festival, Brisbane and Floating Land 2013 supported by Arts Queensland, Australia.

Barclay, L., & Bandt. R. (2012). Rivers Talk. Interactive performance for The Global Composition, Darmstadt, Germany.

Barclay, L. (2012). Interactive installation commissioned for TreeLine by Sunshine Coast Council and Maroochy Regional Bushland Botanic Gardens, Sunshine Coast, Australia.

Barclay, L. (2011). Sound Mirrors. Solo exhibition commissioned by the National Gallery of Modern Art, for the 2011 Attakkalari India Biennial, Bangalore, India.

Barclay, L. (2011). Transvergence. Performance Installation for The Song Company (MODART11), Cockatoo Island, Sydney, Australia.

Barclay, L. (2011). Dhakan. Interactive live performance for ACMC11 commissioned by Noosa Council and performed in Auckland, New Zealand.

Barclay, L. (2011). Uruvam. Original score commissioned for Attakkalari International Dance Company in India for South East Asia and European company tour 2011-2013, Bagalore, India.

Barclay, L. (2011). Cypress Trilogy. Interactive environmental performance commissioned for TreeLine and Woodford Folk Festival, Australia.

Barclay, L. (2010). Breath. Interactive performance for percussion and live electronics commissioned by the Seoul Foundation for Arts and Culture, premiered at Art Centre Nabi, Seoul, South Korea.

Barclay, L. (2009). Eco Sonus. Environmental sound installation, interactive website and acoustic ecology workshop series commissioned by Noosa Council, Floating Land 2009, Queensland, Australia.

OTHER PUBLICATION OUTPUTS – MAJOR CURATORIAL PROJECTS (SELECT) 

Barclay, L. (2018). International Ecoacoustics Congress Creative Program. Queensland University of Technology and Griffith University, Brisbane, Australia.

Barclay, L (2018). Aquatic Ecology Concert – Celebrating World Water Day 2018. Immersive surround sound compositions inspired by freshwater and marine ecosystems across the planet. World Science Festival Brisbane, Queensland, Australia.

Barclay, L. (2017). Perspectives on Listening: Biosphere Soundscapes International Workshop and Symposium. Queensland Conservatorium Griffith University, Brisbane, Australia.

Barclay, L (2017). Sensory Ecology. Gympie Regional Gallery, Fraser Coast Council, Queensland, Australia.

Barclay, L. (2016). Sonic Environments – 100 Ways to Listen. Interactive and immersive environmental sound installations for World Science Festival Brisbane, Queensland, Australia.

Barclay, L. (2015). Balance-Unbalance International Conference, virtual program, Arizona State University, USA.

Barclay, L. (2014). Hydrosonics H20, World Water Day 2014. 48-hour performance program and live stream hosted on Waterwheel digital platform connecting presenters in nodes across Brisbane, San Francisco, New York, Los Angeles, Buenos Aires, Tunis, Berlin, Coburg, Poznan, Torun, Paris, Syracuse, Athens and Cairns hosted at New York University and produced in collaboration with Ear to the Earth, USA.

Barclay, L. (2011-2013). Floating Land. (Noosa Regional Council and Sunshine Coast Council), Noosa Biosphere Reserve, Queensland, Australia.

Barclay, L. (2013). Balance-Unbalance International Conference, Noosa Biosphere Reserve, Queensland, Australia.