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Inside Outside Battery is a mobile media sound art installation for smartphone technologies that uses global positioning system (GPS) locative software to narrate walking visitors through the Battery, a heritage neighbourhood of St. John's (Newfoundland, Canada). Auditory tourists, or soundwalkers, come to know the aural cultures of the Battery through the dynamic interactions of sound and place using site-and time-specific archival materials, stories, soundscapes, and expressive culture sourced from the Battery that play alongside real-time encounters with the physical and sonic materiality of the Battery. Employing practice-based ethnography, this article examines how site-and time-specific soundscape interactive documentary technologies engage socioenvironmental knowledge and foster a sense of place attachment for visitors to the Battery.

Tanya Tagaq's work is political, often tackling themes of environmentalism and Indigenous rights. The Inuk throat singer uses live performance and audiovisual media to engage themes of climate change and give voice to environmental violence. Her work diversifies the discourse of environmentalism to include the voices and environmental trauma experienced by marginalised peoples, specifically North American Indigenous-centred sounds and perspectives. Songs such as ‘Fracking’ from Animism (2014) and ‘Nacreous’ from Retribution (2016) are simultaneously expressions of ecological protest and healing, as Tagaq listens with urgency and uses embodied musical practice to explore the aurality of pipeline politics and other forms of ecological imbalance and harm. I analyse how Tagaq's work, both her songs and their accompanying music videos and multimedia, gravitates towards the ecological, considering what healthy and unhealthy relationships between humans and the non-human world – plants, animals, water, natural resources – sound like.