"Sally Ann McIntyre was born in Hobart, and currently resides in Dunedin. Her creative practice is highly responsive to place, and includes sound art, the creative use of radio, and the the use of field recordings, as well as a concurrent practice in poetry and associated forms of writing.

A major platform for her artistic output since 2006 has been a hand-made narrowcast radio station named radio cegeste, a nomadic performance and recording project which broadcasts within a small radius to any locality on the frequency 104.5FM. Lo-fi, site-specific technological interventions into the soundscapes of various places and ecologies are often conceived as exploratory inter-species collaborations, for which she acts as curator and operator, destabilising the notion of one-to-many broadcast, and associated forms of control and authorship within the medium. Soundscapes recorded on site are layered back into the environment with historic field recordings on 78rpm and other media, problematising the immediacy of listening, and asking questions about its historicisation.

radio cegeste has released material on the labels winds measure, Consumer Waste, and/Oar, Idealstate, Flaming Pines, and Gruenrekorder. Sally's sound work also includes ongoing research into the materiality of recorded silence, the history of birdsong transcription, and the hauntology of extinction as a trace within sound archives, including the use of pre-electrical sonic inscription and playback mechanisms, such as gramophones, phonographic wax cylinders and music boxes, to bring extinct birdsong back to audibility. Projects have been exhibited in galleries and project spaces in Australia, New Zealand, the UK and the U.S.

Her critical practice spans radio documentary, critical writing, and curatorial and organisational work. She has written for Flash Art International, Art Asia Pacific, and other print media, and since 2009 has been involved as an Australasian curator for the international Radia network, which is a curatorial platform for peer-to-peer experimental radio art, commissioning many new works from sound and radio artists in the region. Her interests include environmental history, post-humanism, the history of museums, ethno-ornithology, island ecologies, avian electomagnetic navigation, obsolete technologies, the poetics of erasure and the trace, the possiblity of locality within the globalised, and the cultural and historical situatedness of listening."