The festival featured the work of 228 artists from around the Pacific Region. SoundCulture 96 was easily the largest sound art festival ever held in the United States. The festival included representation of a number of differing areas of sound practice: sound sculpture and installation, radio and telephonic works, performance, acoustic ecology, noise, cultural theory in relation to sound, appropriation, high- and low-tech activities, educational events for kids, homemade sound instruments, sound works for public space, and sound for film. Read a review here . SoundCulture 99, held in March, 1999 in Auckland, New Zealand, expanded on the territory covered in previous events by including the work of Maori, Samoan, and Indonesian artists. It was curated to emphasize the culture in SoundCulture - the distinct sound traditions, practices and environments that feed into contemporary sound practice and in doing so showcased the work of a number of artists from New Zealand and beyond. SoundCulture (in conjunction with Tura New Music) curated the "Sonic Differences" component of the Biennale of Electronic Arts Perth in 2004 and the SoundCulture AudioLab at the Bundanon Trust 2008. The organisation has recently re-modelled, and now embraces a nodal model, allowing smaller regional groups to form a network of SoundCulture groups.