The article discusses an interdisciplinary project aimed at highlighting the acoustical heritage of wetlands, by means of field recordings and a novel time-lapse montage method. We discuss a site-specific sound installation that was designed using original wetlands field recordings, live processing, and spatial audio multi-channel reproduction. The discussion focuses on spatial and temporal features of different types of recorded wetlands soundscapes. Future developments of this project will consider the implementation of a standalone spatiotemporal application, to be used in the context of virtual reality applications, game audio, and interactive dance performance.

This article explores the pedagogical potential of soundscapes as creative learning tools for advancing environmental education in Chilean primary schools. Drawing on the Soundlapse project, we designed and implemented a school workshop that combined activity sheets, an online bird-sound repository, structured soundwalks, and immersive audio concerts with teachers and students in Valdivia. The study employed a qualitative, participatory design, analyzing teacher interviews through reflexive thematic analysis. Four themes emerged: (1) listening as pedagogical practice, (2) learning through place and the senses, (3) creativity and cross-disciplinarity, and (4) implementation challenges and opportunities. Teachers emphasized the transformative role of attentive listening, which reconfigured classroom dynamics through shared silence and cultivated students’ capacity for self-regulation. Soundwalks and sensory encounters with local wetlands positioned the environment as a ‘living laboratory,’ fostering ecological awareness, attachment to place, and intergenerational knowledge. Creative activities such as sound mapping legitimized symbolic and artistic modes of representation, while interdisciplinary collaborations between science and music expanded curricular possibilities. At the same time, institutional rigidity and lack of resources highlighted the importance of teacher agency, co-designed materials, and flexible frameworks to sustain these practices. We argue that soundscape-based education offers a timely opportunity to integrate sensory, creative, and ecological dimensions into school curricula, aligning with national and international calls for interdisciplinary sustainability education. By treating listening and creativity as core rather than peripheral, such approaches may open new pathways for cultivating ecological awareness, cultural belonging, and pedagogical innovation.

The article discusses the making of O que vos nunca cuidei a dizer, a gallery work for interactive garment, transducer-based interface and live electronics. A technical description of the work is framed by an account of the creative process, with reference to media archaeological methodology and a discussion of the role of composed instruments in the new paradigms of artistic research.

This article discusses the algorithmic design and implementation of A Queda do Céu, a sound installation and kinetic sculpture related to the Soundlapse project. In it we provide an overview of the project and go on to describe the main computational challenges related to the installation, which included a variety of realtime processing, interpolation, and mapping algorithms. We contextualize the work in relation to regional ecological and political debates, as well as the global climate crisis. In doing so, we echo other sound and field-recording artists in proposing that artworks have an important function as experimental arenas in which new technological applications can be probed and where new modes of listening can be investigated, reconfigured, and exercised. In closing, we lay out an overview of the current challenges being tackled by the Soundlapse project, specifically the development of a refined version of the sonic time-lapse method that incorporates machine learning routines and user-defined spatialization capabilities.