Barclay, Dr Leah

Barclay, Dr Leah

Lecturer

University of the Sunshine Coast
Research interests / activities:

My research and creative work over the last decade has investigated approaches to recording and disseminating the soundscapes of terrestrial and aquatic biodiversity to inform conservation, scientific research and public engagement. My work explores ways we can use creativity, new technologies and emerging science to reconnect communities to the environment and inspire climate action. I lead several research projects including Biosphere Soundscapes and River Listening that focus on advancing the field of ecoacoustics. The design of these interdisciplinary projects are responsive to the needs of collaborating communities and involve the development of new technologies including remote sensing devices for the rainforest canopy and hydrophone recording arrays in aquatic ecosystems with a focus on listening to ecological change from a non-human perspective.

Outputs:

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
Barclay, L., Linke S., & Gifford T. (2020). Interdisciplinary approaches to freshwater ecoacoustics. Freshwater Science. https://doi.org/10.1086/709130
Barclay, L. (2019, in press). Listening to aquatic ecosystems: Hydrophonic discoveries enhancing conservation in freshwater and marine environments. Leonardo.
Woodland, S., Saunders, V., Beetson, B., & Barclay, L. (2019). Listening to Country: Exploring the value of acoustic ecology with Aboriginal and Torres Strait Islander women in prison, Soundscape: The journal of acoustic ecology, vol. 17, no. 1, pp. 41-44.
Barclay, L. (2019). Acoustic ecology in Australia, Soundscape: The journal of acoustic ecology, vol. 17, no. 1, pp. 3-5.
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.

Major Creative Works
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.

Potential areas for research supervision: Acoustic ecology, bioacoustics, ecoacoustics, biodiversity monitoring, conservation technology, design, sound art, interactive media
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