We summarise 15 years of field and remote monitoring of Tapado Glacier in north-central Chile (30° S). Observations include meteorological records, direct mass balance measurements, uncrewed aerial vehicle surveys and tri-stereo satellite imagery for deriving high-resolution elevation changes. Frequent droughts and a significant warming trend of 0.29°C decade−1 since 1974 have caused a decrease in glacier surface albedo and an accelerated loss of glacier area and mass, particularly since the onset of the Chilean Megadrought in 2010, associated here with a 43% winter precipitation deficit. Geodetic estimates indicate increasingly more negative mass balance, varying from slightly negative before 2000 to −0.18 ± 0.35 m w.e. a−1 in 2000–12, −0.44 ± 0.11 m w.e. a−1 in 2012–20 and −0.75 ± 0.12 m w.e. a−1 after 2020. Glacier mass loss is associated with several morphological changes, such as increased penitente height, a larger total surface area of ice cliffs and supraglacial ponds over the debris-covered section and more frequent falls of snow and ice from marginal ice surrounding a steep area of exposed bedrock. Tapado Glacier exemplifies how glacier mass loss is driven by various processes, requiring multiple monitoring techniques, and highlights the accelerated changes of the Andes cryosphere.

This article reports on an interview-based study with ten sound artists and composers, all engaged in situated sonic practices. We propose that these artists engage the ear and shape possible interactions with the artwork by altering the relationship between sound, the space in which it is heard and the people who hear it. Our interviews probe the creative process and explore how a sound artist’s methods and tools might influence the reception of their work. A thematic analysis of interview transcriptions leads us to characterise artist processes as mediatory, in the sense that they act in between site and audience experience and are guided by the non-human agencies of settings and material things. We propose that artists transfer their own situated and embodied listening to that of the audience and develop sonic and staging devices to direct perceptual activity and listening attention. Our findings also highlight a number of engagement challenges, in particular the difficulty artists face in understanding their audience’s experience and the specificity of an artwork’s effect not just to its location but also to the disposition, abilities and prior experiences of listeners.