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Over recent years, the use of data sonification has become increasingly widespread. There is a new, or perhaps renewed, consciousness of the particularities of aural perception, and we are learning to consider clicks, beeps, varying pitches or chords as carriers of significant information. Although much of this evolution is taking place in the technical realm, as a way of enhancing a user’s perception of important data, notably when their other senses are occupied, interest in data sonification is also increasingly apparent in the realms of art and music. Artists are using sonification to introduce ‘‘real-world’’ or ‘‘real-time’’ elements into their work, and composers are abandoning human decision-making and fixed scores to leave space for variation derived from incoming data. Locus Sonus is a research group attached to the art colleges of Aix-en-Provence and Bourges (France). Our aim is to further knowledge in the domain of audio art. We are particularly concerned with the relationship of sound to space and the evolution of this paradigm through contemporary technology and networks. Locus Sonus combines experimental and exploratory artistic practice, technological development, critique and theory to produce publicly presented artworks and other forms of dissemination. In March 2010, Locus Sonus organized, in collaboration with MMSH, CRISAP and IMERA its 6th international symposium, entitled Sonification—What Where How Why. We are happy and honored to be invited to edit this special issue of AI & Society, which can be considered as a sequel to the symposium of the same name. The field covered in this review is simultaneously extensive and limited: Contributions explore a broad range of artistic practices, scientific research and theory related to artistic practice, the aim being, not so much to adopt a curatorial or critical stance, but rather to provide a survey of the field. We have chosen not to apply a strict definition to the word sonification, and therefore, contributions include references to audification, algorithmic composition and beyond. The field is limited in the sense that the choice was made to restrict the subject to sonification and environments. This definition is open to interpretation, and we find references to environments as diverse as the articulated hardware, software space of a computer booting (Valentina Vuksik), the human brain listening to music (Stephen Barrass) or the electrical probing of the Elephant fish (Jean Cristofol); at the same time, it eliminates the more practical, if potentially artistic, aspects of sonification that include electronic instrument design or human computer interaction. This issue of AI & Society has been organized into two main parts: The first section is dedicated to artists’ pages providing short descriptions of art works and artists’ positions, intended to give an overview of different practices. This is followed by a series of original articles, some of which are written by contributing artists, reflecting their personal engagements, and others by theorists from different domains.

Sonification: what where how why artistic practice relating sonification to environments