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"Our mission is to empower vision impaired people to travel independently, through inclusive and accessible audio navigation. Formed in 2015 and based in London, we have developed the world's first internationally-approved standard for accessible audio navigation."

"Wayfindr, London's best shot at transport accessibility for the blind, was developed out of a couple's new year's resolution. Digital designer Umesh Pandya and his optometrist wife were looking at ways they could collaborate in 2014, while satisfying a deep-rooted desire to help blind people. "We wanted to help people living with sight loss," says Pandya, "My wife obviously deals with the diagnosis and prevention part of it, but I can't do the prevention because I'm not a scientist. I had an interest in accessibility work anyway, and I'm fascinated with the internet of things, connectivities, and exploring what happens when our interface disappears.""

"Can we access the plurality of our contemporary world through silence? And to what do the limits of our sonic imagination attest to? Artist and writer Salomé Voegelin re-listens to the body in silence, so as to grant a new agency, whereby she repositions the relationship between the self and others at the edge of the aesthetic and political."

"What Do I Hear? was the pilot research project of a multinational collaboration that aimed to explore formative and theoretical questions of accessibility and inclusivity through sensory translation in the presentation and creation of art."

"This year I took part in Audio Game Jam 2. A game jam with the goal to raise awareness of accessibility issues experienced by visually impaired people when playing video games. If you haven't heard of audio games, these are games which are played mostly or solely through audio. There's lots of audio games across many genres like narrative adventures, flight simulators, RPG's, RTS games or even GTA style games."

"Those without disabilities might not notice the innovations, but a museum in London is winning plaudits for its design and content."

"That color and smell have a sensory connection is long-established, but there's debate about whether associating the smell of strawberries with red or smoke with black is something structured in our brains, based in language, or resulting from experience. A study published this week in the peer-reviewed, open-access PLoS One called "Cross-Cultural Color-Odor Associations" suggests it may be cultural."

"Video presentation during the international online seminar 'Design as Collective Improvisation' 4-6 November 2021. Presentation on behalf of the team of the collective project 'What Do I Hear?', an initiative of the OtherAbilities http://otherabilities.org/ "

"ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project."

"The result was "Sound Wounds," performed at the Asian Art Museum late August, in which Kahraman invoked the war through sound and archival imagery. While conducting research for the project, she found a recording of the air raid siren. Although it made the hairs on the back of her neck stand up, she listened to it over and over in her studio so that she could access her memories."

"Open Space 2014" is an exhibition introducing works of media art and other forms of artistic expression born out of today's media environments, to a broad audience. Literally a beginner's guide to media art, the exhibition features leading works from the realm of media art, artworks incorporating cutting-edge technologies, works with a critical standpoint, and in addition, projects that are currently in progress at various research institutions. All of them are being displayed along with explanatory notes designed to help the visitor gain a better understanding, according to our aim to present media art in a fun and easily accessible way. Also on the schedule during the exhibition period are a number of related programs including talk sessions, lectures, symposia and workshops with artists and experts, as well as guided tours around the exhibits with explanations by the curatorial staff. A space that combines ICC's diverse functions, Open Space integrates galleries, a mini theater, and the video archive "HIVE." Since its launch in 2006, the exhibition has been held as an admission-free event with changing contents each year. Based on the mission of ICC, it aims to function as an open platform where possibilities of communication culture and art created with the help of advanced technologies can be presented to a large number of people.

"the human telephone was like an electromagnetic update to the oracle at Delphi: a lone female figure with access to distant voices, dancing slowly across a dance floor secretly wired from below, an interactive surface whose hidden technology extended up into her very clothing. "

"In Neerpelt, a small town in the very north of Belgium on the border with the Netherlands, there's the very unique Klankenbos (or Sound Forest). A public forest filled with sound art installations hidden between the trees, accessible to anyone for free any moment of the day. Something so unique, it's strange we've never written an article about it here on Everyday Listening. Time to make up for that."

"As part of the 21st Biennale of Sydney Oliver Beer will exhibit two new works: Composition for Mouths (Songs My Mother Taught Me) I & II, 2018 at the Art Gallery of New South Wales. These two films are a direct response to Beer's unprecedented access as artist in residence at the Sydney Opera House. Exploring ideas of cultural memory and 'inherited music', Beer asked singers to recall the earliest songs they remembered from childhood, incorporating the melodies into new compositional forms. Joining their lips in a tight seal to create a single mouth cavity, the singers explore the resonant frequencies of each other's faces as well as the architecture. They blend their voices to create rhythmic microtonal harmonic interactions known as 'beats' whilst combining adapted forms of their remembered music."

"Interview with Robert Dudzic August 9, 2018 by Jim Stout Leave a Comment I recently had the privilege to speak with Robert Dudzic and, during the course of our casual discussion, we touched on topics such as his thoughts on the creative process, how to gain access to sites and the power of inspiration."

"It is of vital importance to attend to the Covid soundscape while we are still in it because the Covid soundscape is bound by time and place and is ever-changing. Once Covid is eradicated, our access to the sounds surrounding it disappear as well."

"Sampling is a production tool that is fundamental to electronic music. A seemingly simple act - taking small bits of prerecorded sound, often from an existing composition, and incorporating them into a new piece of music - has in the past few decades proven to be a revolutionary cultural force. An essential element for the development of hip-hop in the 1980s, as well as for electronic music scenes concurrently taking shape around the world, sampling helped lower the barrier of entry for potential music makers: No longer did a producer need studio access or a group of musicians to make full and rich productions. Instead, they could dig for loops and breaks from a wealth of existing material and use the pieces they found to create new compositions. The process also allowed the artists to insert themselves into a different type of musical timeline, traversing and connecting decades of sounds in a way that would have been impossible before the dawn of sampling."

"First Sounds strives to make humanity's earliest sound recordings available to all people for all time. Humanity's earliest sound recordings constitute a rich sonic heritage of inestimable value to historians of technology, media, and expressive culture. They are among the rarest and least accessible recordings in our audio legacy. When held by institutions for which they are not the primary focus, many go unrecognized by their curators as sound recordings. And even when correctly catalogued, they commonly remain unpreserved and inaccessible due to a lack of funding or expertise."

"Welcome to the Resources Section. These resources provide useful information for the creation of audio games, game accessibility and background information of the industry in general."

"Sound art has an identity crisis. Trapped between experimental music and traditional art mediums, it suffers from inaccessibility and an elitist, academic "cost of entry" requirement in order to connect with works in the contemporary art canon. With the recent passing of sound artist Alvin Lucier, the only hope for the future of sound art is in uplifting the outliers who push towards creating new conceptually rooted work rather than continuing to reward artists who glorify technology at the expense of providing approachable entry points."