Our first thematic issue, OS 22(1), introduced a body of current work related to the theme of context-based composition, that is, how creative work engages with the ‘real world’ in terms of its epistemology and design strategies, not merely anecdotally but in a fundamental manner. That issue included articles across a wide range of theoretical and applied topics, including ecological approaches, live performance, installations, mobile and ubiquitous technology, historical examples and interdisciplinary practices. Here we continue those lines of enquiry, first with Anette Vandsø’s discussion of four key concepts for studying this subject, what she refers to as ‘paratext, intermediality, enunciation and mediality’, concepts that help us to understand how ‘compositions establish their relation to a specific context’. She focuses on work that uses technology to capture sounds and/or data from the real world and re-present them to listeners, without necessarily constructing a virtual soundscape. First is the information provided about the work (paratext), plus visual information, for instance (intermediality), an approach illustrated later in the issue by Matilde Meireles in her installations. Drawing on Barthes and Beneviste’s concept of enunciation, she discusses how compositional techniques can draw attention to context, directly with speech and indirectly through other actions. Finally, she points to the specific aspects of audio technology (mediality) that are not merely creating inscriptions but act as ‘transmissional’, to use Douglas Kahn’s term (Kahn 2013). Ultimately, she argues that such works draw on our knowledge of the world, and also influence how we understand and talk about that world. Marinos Koutsomichalis continues the discussion around a set of current practices involving ‘material inquiry, anti-optimality, and hybrid, reflexive or “meta” interfaces’, as well as collaborative approaches, all of which function outside of the traditional aesthetic paradigm. He interprets the significance of this new ad hoc aesthetics in terms of ‘emergence, transience and post-selfhood’, traits that emerge from the nature of contemporary media and their networks of communication. One of the main categories and concerns of the submitted articles has been the environmental and ecological, and in OS 22(1) we presented three overviews of the subject. Here we continue with another three that present specific projects. Brona Martin gives a summary of soundscape-based approaches and discusses various projects that engage directly with communities, such as those undergoing ‘regeneration and renewal’, often with deleterious effects, as well as those involved in political protest. Teresa Connors and Andrew Denton have a lengthy history of collaboration on environmentally themed projects in various countries, and their article offers nuanced insights into the evolution of their collective practices grounded by being ‘in’ these environments. Carolyn Philpott provides a comprehensive documentation of the work of sound artist Cheryl Leonard that is based on and in the Antarctic, a touchstone environment related to climate change, and discusses Leonard’s efforts to balance the aesthetic with the ethical in her work. Next, we have two papers that deal with the materiality of real-world contexts, the first by Diogo Alvim who explores the interdisciplinary connections between architectural thinking and practice and music creation, using such concepts as material, site, drawing, programme and use, both historically and in current compositional work. This kind of analysis highlights the need to distinguish the traditional visual approach to space and architecture from the aural experience of ‘acoustic space’ (Truax 2017) that is implicitly or directly involved in all the compositional work discussed here. Otso Lähdeoja addresses an even more literal form of materiality, namely transmitting sound through physical objects, or what he terms ‘materially mediated electronic musicianship’. These two papers, taken together, remind us that sound as vibration is inherently influenced by every stage of transfer of the source excitation to medium of propagation, including the physical space into which it is projected. Although we often refer to the electroacoustically reproduced sound (source) as disembodied, in practice it is just as ‘embodied’ as acoustic sound. Organised Sound over the last two decades has established itself as a forum for an emerging musicology of electroacoustic music that has been expanding to include a wider range of concerns and practices. The following articles present three different approaches to the analysis of specific composers’ works by authors with musicological and other backgrounds. Erik DeLuca analyses the environmentally inspired work of

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社论：基于上下文的组合

我们的第一期专题 OS 22(1) 介绍了一系列与基于上下文的构图主题相关的当前工作，即创意工作如何在认识论和设计策略方面与“现实世界”互动，而不是只是轶事，但从根本上说。该期刊载了涵盖广泛理论和应用主题的文章，包括生态方法、现场表演、装置、移动和无处不在的技术、历史案例和跨学科实践。在这里，我们继续这些探究路线，首先是 Anette Vandsø 对研究该主题的四个关键概念的讨论，她称之为“副文本、中介性、发音和中介性”，这些概念有助于我们理解“组合如何与特定的上下文'。她专注于使用技术从现实世界中捕捉声音和/或数据并将它们重新呈现给听众的工作，而不必构建虚拟音景。首先是提供的关于作品的信息（副文本），加上视觉信息，例如（中间性），稍后 Matilde Meireles 在她的装置中展示了这种方法。借鉴 Barthes 和 Beneviste 的发音概念，她讨论了组合技巧如何直接通过语音和间接通过其他动作将注意力吸引到上下文中。最后，她指出了音频技术（媒体性）的特定方面，使用道格拉斯·卡恩的术语（Kahn 2013），这些方面不仅是创建铭文，而且是“传输”。最终，她认为这些作品借鉴了我们对世界的了解，也会影响我们如何理解和谈论那个世界。Marinos Koutsomichalis 继续围绕一组当前的实践进行讨论，这些实践涉及“材料探究、反优化和混合、反射或“元”界面”，以及协作方法，所有这些都在传统美学范式之外发挥作用。他从“涌现、短暂和后自我”的角度解释了这种新的特别美学的意义，这些特征是从当代媒体及其传播网络的本质中出现的。提交文章的主要类别和关注点之一是环境和生态，在 OS 22(1) 中，我们介绍了该主题的三个概述。在这里，我们继续介绍另外三个展示特定项目的内容。Brona Martin 总结了基于音景的方法，并讨论了与社区直接接触的各种项目，例如那些经历“再生和更新”的项目，通常会产生有害影响，以及参与政治抗议的项目。Teresa Connors 和 Andrew Denton 在不同国家的环境主题项目上有着悠久的合作历史，他们的文章对他们在“身处”这些环境中的集体实践的演变提供了细致入微的见解。Carolyn Philpott 全面记录了声音艺术家 Cheryl Leonard 的作品，该作品基于南极这一与气候变化相关的试金石环境，并讨论了 Leonard 在其作品中为平衡美学与伦理所做的努力。下一个，我们有两篇关于现实世界语境物质性的论文，第一篇是迪奥戈·阿尔维姆（Diogo Alvim）的论文，他探索了建筑思维、实践与音乐创作之间的跨学科联系，使用了材料、场地、绘图、程序和使用等概念，无论是历史上的并在当前的作曲工作中。这种分析强调需要将传统的空间和建筑视觉方法与“声学空间”（Truax 2017）的听觉体验区分开来，后者隐含或直接参与了此处讨论的所有构图工作。Otso Lähdeoja 提出了一种更直接的物质形式，即通过物理对象传输声音，或者他所说的“以物质为媒介的电子音乐”。这两篇论文合起来，提醒我们，作为振动的声音本质上受到源激励到传播介质的每个阶段的影响，包括它被投射到的物理空间。尽管我们经常将电声再现的声音（源）称为无实体，但实际上它与原声一样“有实体”。在过去的二十年里，Organized Sound 已经成为新兴的电声音乐音乐学的论坛，该音乐学已经扩展到包括更广泛的关注和实践。以下文章介绍了三种不同的方法来分析具有音乐学和其他背景的作者的特定作曲家的作品。Erik DeLuca 分析了受环境启发的工作 包括它被投影到的物理空间。尽管我们经常将电声再现的声音（源）称为无实体，但实际上它与原声一样“有实体”。在过去的二十年里，Organized Sound 已经成为新兴的电声音乐音乐学的论坛，该音乐学已经扩展到包括更广泛的关注和实践。以下文章介绍了三种不同的方法来分析具有音乐学和其他背景的作者的特定作曲家的作品。Erik DeLuca 分析了受环境启发的工作 包括它被投影到的物理空间。尽管我们经常将电声再现的声音（源）称为无实体，但实际上它与原声一样“有实体”。在过去的二十年里，Organized Sound 已经成为新兴的电声音乐音乐学的论坛，该音乐学已经扩展到包括更广泛的关注和实践。以下文章介绍了三种不同的方法来分析具有音乐学和其他背景的作者的特定作曲家的作品。Erik DeLuca 分析了受环境启发的工作 在过去的二十年里，Organized Sound 已经成为新兴的电声音乐音乐学的论坛，该音乐学已经扩展到包括更广泛的关注和实践。以下文章介绍了三种不同的方法来分析具有音乐学和其他背景的作者的特定作曲家的作品。Erik DeLuca 分析了受环境启发的工作 在过去的二十年里，Organized Sound 已经成为新兴的电声音乐音乐学的论坛，该音乐学已经扩展到包括更广泛的关注和实践。以下文章介绍了三种不同的方法来分析具有音乐学和其他背景的作者的特定作曲家的作品。Erik DeLuca 分析了受环境启发的工作