Abstract
The author reflects upon listeners’ experiences and the practice of developing a number of audio-augmented reality sound installations deployed between 2019 and 2020. The installations realized audioaugmented objects: physical real-world objects augmented with virtual audio content. Focusing on users’ feedback from one such installation environment, the author suggests that audio-augmented objects are capable of realizing virtual audio experiences that are indistinguishable from reality offering the potential for the development of new and exciting auditory experiences that embed virtual audio content withn listeners’ physical environments.

Abstract
Elucidating the structure of its retrospective triptych Draw Agreement (2023), Coppice (Noé Cuéllar and Joseph Kramer) overviews the techniques driving its musical experimentation between 2009 and 2022. Rich in sound, musical, technological, and listening concepts, these notes serve to accompany the navigation of Coppice’s music as referenced from the three-part construct, while pointing to other related works. Through documentation and metaphor, Coppice’s sonic thinking identifies recurring themes, culminating in a spatiotemporal synthesis of actuality and simulation in an increasing convolution of auditory reflexivity. In parceling this 13-year experimental musical object, Coppice attains and continues building upon an auditory perspective that engages postphenomenological embodiment, shifting spatiotemporal values and creative mediative processes reflective of artistic, technological, and auditory cultures today.

Abstract
This article focuses on how recording, playback, and compositional spatial immersive technologies play a defining role in creating 8-channel electroacoustic compositions Moments of Liberty I–IV. Drawing from the author’s doctoral research, the article specifically explores the application of these technologies and techniques in the production of the primary sound material, its recording, and the spatial processing and articulation employed primarily to achieve a heightened sense of spatial immersion, and secondarily to enhance dramatization and musical flow.

Abstract
The authors thoroughly examine the creative process behind UKON, which uses computer simulation to reinterpret the Song Dynasty’s aesthetic of “plainness.” By treating random numbers as representations of Qi, the artwork undergoes a transformation that both complicates and simplifies its visual elements. This approach not only transcends simple visual depiction but also reflects a profound exploration of “the extreme splendor of plainness,” capturing its essence in a contemporary form. The work showcases the artist’s deep understanding of traditional aesthetics and illustrates how modern technology can reinvent these concepts as a new visual language.

Abstract
In the opera The Ghost, artists with backgrounds in music composition, Greek tragedy, creative coding, and opera performance collaborated to create an artwork that engages with philosophy and technology. A light sculpture with a novel Internet of Things (IoT) architecture was adapted for the opera’s stage, where both the sculpture and its controlling interface were programmed to visually represent musical processes within the composer’s approach. During filming, the light sculpture contributed to the dramatic context through movement and gestural interaction between the sculpture and the soprano. Drawing upon human-computer interaction (HCI) research and its inquiry into movement for engaging with new technology expressively, movement and gesture transpiring from mimetic techniques in the opera were central in this interdisciplinary collaboration.

Abstract
This article illustrates a collaboration-in-formation between a performing artist and a neuroscientist. The authors focus on the early clarification of cross-disciplinary language and their recognition of the frameworks, overlaps, and divergences between how puppetry animation and neuroscience approach body, breath, imagination, disability, embodiment, consciousness, and research itself. The authors briefly discuss the creative process in puppetry performance and ask questions about what normative assumptions exist in neuroscience and how they interface with the authors’ perspectives as researcher-practitioners.

Abstract
The authors explore the use of slime, a non-Newtonian fluid, as a medium for creating kinetic sculptures. Inspired by a children’s workshop, the authors experimented by creating forms with slime bubbles. They describe how they utilized the science behind the material to craft sculptures and how the interactions of bubbles create sculptural bodies and lifelike movements. The article further introduces the mechanism behind the creation, which led to several methods for creating slime sculptures. Through exhibitions in Taiwan and at the Ars Electronica Festival, the authors share insights into audience reactions and how these sculptures elicit visual, auditory, and tactile experiences.

Abstract
Although numerous metaphysicians, philosophers, scientists, poets, artists, and musicians have speculated on the existence of a relationship between color and music for over 2000 years, the establishment of a correlation between color and musical harmony has been elusive. The author describes a framework, Musical Color Hue Harmony (MCHH), that correlates musical and color harmonic consonance and dissonance by applying the physics of aural harmonic resonance and theories of musical harmony to produce sets of “harmonious” color hues based on the mathematically defined frequency relationships between two or more musical pitches. The methodology is applicable to any musical tuning system and any color hue wheel configuration. Color attributes of brightness/luminance and saturation/chroma are presently beyond the scope of the framework.

Abstract
This historical perspective identifies theoretical and graphical parallels between two unlikely accomplices: the mid-twentiethcentury multidisciplinary movement the Situationist International, and developments in the psychological study of eye movements. Both schools of thought approach the ostensible objectivity of the visible world through a deconstructed and personalized interpretation made possible by our perception. Especially in regard to aesthetics, our perceptual biases enable an agency through which everyone can participate and ultimately enrich the dialogue that provisions art with meaning. Diagrams of eye-tracking studies inspired by early Situationist graphics highlight the piecemeal and constructive nature of our perception. In the context of unprecedented AI image generation, with aesthetic creativity itself being questioned, the text offers a graphic-based reminder of the value and creativity of our perception.

Abstract
Swedish artist Hilma af Klint is known to have been influenced by scientific developments at the turn of the twentieth century. However, many of her paintings from 1914 to 1916 exhibit similarities to diagrams published much earlier in the English polymath Thomas Young’s 1807 A Course of Lectures on Natural Philosophy and the Mechanical Arts. Key elements and themes in af Klint’s The Dove, The Swan, Parsifal, and Altarpieces series suggest Young’s Lectures may have been a major source for her work. The author explores this idea and other parallels between the lives and legacies of the visionary scientist and the abstract art pioneer.