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(accessed October20 2016). 14. listening/ 13. < 12. winderen IsabelleL 3. JohnsHopkins Press, 1970). lan 11. 9. 8. U 2. UniversityPress, 2016). Environmental SoundArtists: In Their WordsOwn < 1. References andNotes 10. (accessed March14 2015). < 7. 2015). < 6. Soundscapes atthe River Segment S Klement 4. < pp. pp. 433 cationsof Passive Acoustics Fisheriesto S Hawkins,Joseph J 5. No. 6 (2011).pp. 2319 tion with artists and scientists is artists andpossible. realistic with and scientists now tion collabora- in change environmental of mapping the undertake to empowering affordable, communities so local and accessible increasinglyhave become necessarytechnologies recording environmethe listeningto of possibilities scientific and the creative around engagement communityaccessible develop to virtual technologies harness arethere clear opportunities aquatic bioacoustics and ecoacoustics bioacoustics aquatic recording. of hydrophone in the possibilities scientific deeplygrounded being communitywhile creative technologyand engagement ecology,rivers to acoustic to attention bring through designed ecological inf ecological and conservation priority ecosystems managementa criticalaquatic the of is a time when through sound. through and cultural explore the environmentto and worldtothe the listen across communities inspire can that interdisciplinary engaged,accessible, field expands and extends www.leahbarclay.com/wira>(accessed October20 2016). www.davidmonacchi.it/media/audio/water.htm>(accessed 14 March2015). www.annealockwood.com/compositions.htm www.fishecology.org/soniferous/soniferous.htm(accessed > September 3 https://peerj.com/articles/1393/ n
CamilleDesjonquères JulieFreeman, “ RosBandt < MariePoland Fish and William H. Mowbray. RodneyA.Rount RodneyA.Rountree, R. Grant Gilmore,Clifford A.Goudey, Anthony D. LeahBarclay, “River Listening,” Frederickin Bianchi and V. J.Manzo, eds., AnneaLookwood, “Compositions,” DiegoTonolla, Mark Lorang, S. Kurt Heutschi,Chris C.Gotschalk and derwaterAcoustic Diversity Threein TemperateP River
tic Fishes.tic A Reference File Biologicalof Underwater S BiosphereSoundscapes RiverListening, ArtCOP21 (2015), < JanaWinderen, “Vandrere” (2016), < LeahBarclay, “WIRA: Listening”River (2016), DavidMonacchi, “Stati d'Acqua” (2006),
- 446.
Tockner,“ > > (accessed - . W . e Viol,e Sandrine Pa vandrere Listening
The e urgently need to engage communities in river in engage to communities e urgentlyneed www.rosbandt.com ormation to decision makers.to decision ormation . Luczkovich . an > (accessed > October20 2016). The Lake”The (2005), < international interest in the possib the interestin international Characterizationof SpatialHeterogeneity U in ree,“Listening Fish:to New Discoveries S in 20 October20 2016). find find new
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acoustic ecologyacoustic socially inclusive, an as ,
(2016), <
voine and JérômeSueur, "First D biological diversity of global riversglobal biological diversityof >
299 balance-u nbalance 2015–2016, 2 part techniques that can reliable can provide that techniques > (accessed > August11 2016). dDavid A. Mann,“ cale,” www.biospheresoundscapes.org/ www.translatingnature.org/lake/
www.artcop21.com/events/river www.tenthaus.no/exhibit cience,” Limnology andOceanography >(accessed 14 March2015). continues to expand to continues Sounds W of
Fisheries (NewYork, USA: Oxford
onds,” Listeningto F River Listening River ounds
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balance-unbalance 2015–2016, part 2