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"This 1940s old as dirt med school classic video describes how humans hear sound and how the human ear works. The video covers the anatomy and physiology of the ear and discusses the outer ear, the middle ear and the inner ear. Other topics include the eardrum (tympanic membrane), hammer (malleus), anvil (incus), stirrup (stapes), organ of corti, and the cochlea. Included in the video is a labeled diagram showing the parts of the human ear. This is excellent information for managers who have workers exposed to high levels of noise that could potentially damage hearing."

"Ears are a peculiarly individual piece of anatomy. Those little fleshy seashells, whether they stick out or hang low, can be instantly recognizable in family portraits. And they aren't just for show. Researchers have discovered that filling in an external part of the ear with a small piece of silicone drastically changes people's ability to tell whether a sound came from above or below. But given time, the scientists show in a paper published Monday in the Journal of Neuroscience, the brain adjusts to the new shape, regaining the ability to pinpoint sounds with almost the same accuracy as before."

"The ElectroAcoustic Resource Site (EARS) project has been established to provide resources for those wishing to conduct research in the area of electroacoustic music studies. EARS will take the form of a structured Internet portal supported by extensive bibliographical tools. To aid the greater understanding of the opportunities offered by these radical forms of sound organisation, as well as their cultural impact, the project will cite (or link directly to) texts, titles, abstracts, images, audio and audio-visual files, and other relevant formats. "

""The Ears Between Worlds Are Always Speaking is a long-form, 2 channel hyper-directional 4 act opera projected upon the ancient ruins of Aristotle's Lyceum. For this work there is no physical intervention onto the site, with the exception of sound produced by 2 LRADs - LONG RANGE ACOUSTIC DEVICES - that are mounted on rooftops around the campus periphery. At the installation, audiences experience a shifting call and response hyper-directionality of sound when walking around the ruins of the school. The Lyceum, situated between the Athens War Museum, Hellenic Armed Forces Officer's Club, and Athens Conservatory of music, offers a rich environment for engaging oral tradition, contemporary and ancient history, as well as a sense of embodied learning."

"The ear has 20,000-30,000 hair cells, the nerve endings responsible for carrying the electrical impulses through the auditory nerve to the brain. These delicate receptors bend or flatten as sounds enter the ear, typically springing back to normal in a few hours, or overnight. But over time, loud sounds can cause more permanent damage as hair cells lose their resilience. Frequent and intense exposure to noise will cause these receptors to flatten down, stiffen, and eventually break. The damage can interfere with the ability to determine the location of a sound, cause extreme sensitivity and pain, and make it impossible to discern language with background noise. One in 20 Americans, or 48 million people, report some degree of hearing impairment. RELATED STORY What My Hearing Aid Taught Me About the Future of Wearables "

"Ears are a peculiarly individual piece of anatomy. Those little fleshy seashells, whether they stick out or hang low, can be instantly recognizable in family portraits. And they aren't just for show."

"Evolving out of experimental art series The Hibernation Project, EARS HAVE EYES is an auditory exhibition space for sound art on the radio. Local, national, and international artists and musicians are welcome to submit their work, sharing spatial soundscapes, auditory aesthetics, spoken word, noise, poetry, experimental compositions, thematic interviews, and other recorded media on the radio waves across Treaty 7 Territory in Southern Alberta - and beyond."

"Composer and artist, Lawrence English is interested in audition, which is the act of perceiving with our ears to extract information from the world around us. Unlike our eyes, our ears have no lids but does this mean we're always listening and what is this thing called listening anyway - is it merely hearing or is it something more decisive? Most of all he ponders, can we listen to a listener's listening?"

"Every Time A Ear di Soun is a documenta 14 Radio Program in collaboration with Deutschlandradio Kultur that explores sonority and auditory phenomena such as voice, sound, music, and speech as mediums for writing counterhegemonic histories. Every Time A Ear di Soun reflects on how the sonic impacts subjectivities and spaces, especially through the medium of radio."

"Van Dam and de Boer have developed the following idea from these different interests. In several recordings of Dam filmed (and sound is recorded) when he performs Sequenza VIII . Emphasizing first half total, the body and the intimacy with the instrument. Then abstract details filmed, like his hands, his ear, details of the violin, strings and the like. In the editing is from the portrait / body of the violinist a more fragmented, abstract image created a physical, gives spatial experience in the tension between the music and the image rhythm. If the body and the violin in abstract details and solve dancing away in the (sound) space."

S.T.R.H. Smoleński's installation fills the main exhibition hall of the Łaźnia Centre for Contemporary Art in Gdańsk entirely, denying viewers a safe distance and pulling them towards its interior. The visual elements consist of massive, static, 3-dimensional objects which generate low-frequency sound at specific intervals. The sound unfolds from a nearly inaudible acoustic pressure into powerful rumblings that shake everything in their path - including the walls of the space and the body of the viewer - and eventually dissipate into complete silence. This way, contact with the work of art becomes a total sensory experience that involves not only the viewer's vision and hearing but their whole body; it is an entirely physical sensation. Though not devoid of a visual presence, the piece makes its impact mainly with sound, which, generated in specific ways, creates the impression of an all-encompassing experience - a synthesis of the senses that combines cues perceived by spatial receptors (eyes and ears) and contact receptors (skin and muscle).

" "Devine has taken data from NASA's Kepler missions to create individual compositions that occupy each floor of the 29 metre high tower, built in 1758. Each composition can be thought of as a subset of this set of data, and a mapping of the range of frequencies and information gathered by the missions to a more manageable human scale. The compositions from each star's data are positioned according to their age, frequency range and the number of exoplanets they host, moving upwards through the tower, which could almost have been custom built for the installation. [...] As you ascend through the building, you're also moving light years through the universe, outwards towards the different solar systems with their exoplanets and changing resonances. Just as musical instruments resonate with frequencies, so can the stars and planets, and it is this resonance that Devine has scaled for the human ear.""

"Soundwalk Editions features artists and composers who use environmental field recordings as a point of departure in their work. By recording sounds outside of the conventional studio you are in the act field recording, audibly engaged with ears that gradually refine a sonic experience, like the eye looking through a camera lens. Field recording is often synonymous with phonography, in which sound takes the place of image in documenting a location, physical act, or a natural occurrence. Drawing attention to the quality and experiential nature that can exist in the soundscapes of our environment, these works allow the viewer to have an intimate experience with the various compositional approaches practiced by each individual artist. Through listening to these recordings we have the opportunity to become aware of the various dialects that can exist in the language of field recording compositions."

"This article seeks to explore the manifold ways in which carceral violence and acoustics intermingle, as manifested in the case of the military prison of Saydnaya-an infamous, state-run torture jail in Syria. As revealed by survivors' ear-testimonies and by the recent digital reconstruction of the prison's interior (available on the Amnesty International website), sound seems integral to the dynamics of power at play in the Syrian prison. A great part of the violence committed there is acoustic, one that is meticulously based on defining properties of the aural experience. "

How can sound help us better understand our environment and engage in today's critical ecological issues? The Ear to the Earth festival kicks up the volume of the earth's sonic life with concerts, installations, public art, and panel discussions that explore our interaction with natural and man-made worlds through sound. We speak with sound artists Laurie Spiegel and David Dunn.

None of the music on this website exists. But don't you wish it did? The reviews that make up this preview of EAR WAVE EVENT were created by a neural network fed and trained on contemporary music press. Inverting the normal flow of music criticism, we invite artists to use these reviews prescriptively - to create realizations of musics 'imagined' by a prosthetic mind.

"Scientists have recently made some remarkable discoveries about non-human sounds. With the aid of digital bioacoustics - tiny, portable digital recorders similar to those found in your smartphone - researchers are documenting the universal importance of sound to life on Earth. By placing these digital microphones all over Earth, from the depths of the ocean to the Arctic and the Amazon, scientists are discovering the hidden sounds of nature, many of which occur at ultrasonic or infrasonic frequencies, above or below human hearing range. Non-humans are in continuous conversation, much of which the naked human ear cannot hear. But digital bioacoustics helps us hear these sounds, by functioning as a planetary-scale hearing aid and enabling humans to record nature's sounds beyond the limits of our sensory capacities. With the help of artificial intelligence (AI), researchers are now decoding complex communication in other species."

"Audible Inaudible is a term keyed by ethnomusicologist Martin J Daughtry where the violent sounds of war become muted by its auditors as a mechanism for survival. I have multiple memories that involve the terrifying sound of the air raid siren so I started the research in how to translate a sonic memory into object. This lead me to Martin's a book titled "Listening to War, Sound, Music and Survival in Wartime Iraq" where he describes an interview with a mother shielding her children from the violent sounds of war by holding them tight and pressing her arms against their ears. Her body, her flesh then acted as a perfect, natural micro environment to protect her children. I wanted to mimic this concept of "flesh as defense" so I introduced pyramid acoustic foam in the paintings; a material that "detains" sound. I started surgically cutting my linen and pushing the foam through it from the back. As it was penetrating the surface I felt as if I was conducting an operation of resistance. These calculated cuts and wounds were enabling the painting to breathe. Inhaling and exhaling it was reacting, resisting, defending and accepting these sonic wounds."

Described as an electro-acoustic sound installation, Shawn Decker's Prairie recalls the sights and sounds of its namesake via a field of speakers and thin, swaying metal rods. Thin, tall brass rods glisten in the light as individual motors, with small speakers mounted to the top, cause them to vibrate and sway. Each brass stem operates independently, and the entire installation--including hundreds of these rods--is programmed to operate in randomized patterns of sound and movement. "It is much more fun as a creator to compose a piece that is continuously surprising you," Decker noted. "I will often laugh out loud when it does something I don't expect. The element of change and indeterminacy allows you to become a much more active listener." Prairie is more than a soundscape. It is an environment that will entrance both eye and ear. The concepts presented in the installation--nature and technology, sound and movement, sculpture and performance--come together to enchant the viewer and invite a reconsideration of the elements that make the prairie unique.

"Touch reorients us to the fundamental condition of being - to the inevitability of others, human and nonhuman. In touching, we are most vulnerable because we are always also being touched back. The analogy that Merleau-Ponty uses in his posthumously published work, The Visible and the Invisible (1964), is this: when my one hand touches the other, which one is doing the touching, and which one is being touched? We have eyelids; we can pinch our noses and shut our ears; but there are no natural skin-covers. We cannot turn off our sense of touch. To be a human in the world is to be tactile, to always be touching and touched with every single pore of our bodies. Advertisement "