"Looking at SoundArt in Berlin today, we find not only an evolved art form, but a unique cultural situation, making this city still one of the worlds most lively SoundArt centres. The history of SoundArt in Berlin is here traced back to the 1970s when the Western part of the divided city became a centre of cross-disciplinary and experimental art. To understand the subsequent development, the article starts with the underlying cultural and political situation of Berlin in the last few decades."

Is there a line from Mahler to Simon Steen-Andersen? From a fin-de-siècle symphony to a 21st century avant-garde investigation of technological possibilities? Well maybe, the author argues, if modernism in music is seen as an interest in sounding objects.

Through a reading of four works, this article explores how Simon Steen-Andersen the visual as a communicating and concrete compositional material.

Simon Steen-Andersen presents a thoroughly intellectual approach, but he also makes room for the quiet and the fragile. He can call attention to echoes of dust and breath.

Repetition is never just the same thing twice. In the works of Simon Steen-Andersen repetition only appears due to a complex interplay with the unrepeatable.

Risto Holopainen discusses notions of automated composition and autonomous instruments - and outlines a distinction between human and non-human agents.