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"Walking in nature has long been associated with creativity. Yet walking's associated research and artistic practices remain dogged by representationalism. Concomitantly, intersectional concerns of race, gender, and dis/ability determine what kinds of bodies are allowed to walk where (and in this case, the where is Brexit-era Britain). This article attempts to navigate the complexity of these tensions, contextualizing a five-day walking research-creation project along St. Cuthbert's Way that we called Queer Sonic Cultures. As academics and artists interested in the relationship between walking and composition, our initial propositions are to become affected as we walked and to create sonic cultures (songs) using whatever affected us along the way. In using research-creation as a research methodology, we understand our artistic compositional practice of co-creating lyrics-melody-harmony-production-arrangement as the research. Unlike some forms of arts-based research that use an artistic form to disseminate research findings, in research-creation the artistic practice is the research and the theory. In the interests of continuing to make this apparent, we shall prefer to describe this contextualizing article as Academic Liner Notes. The Academic Liner Notes begin with a brief description of the location of the walk, contextualized within the tradition of walking and composing in the British landscape, and the use of sound-based methods and literature to represent such landscapes. In this section we will trouble the whiteness and cis-hetero heritage of walking and art in rural Britain. Following this, we will introduce research-creation as a methodology contextualized within affect studies. We argue that the resultant sonic cultures (nine in total) rather than representing the walk, in fact, more-than-representationally intensify the affective dimensions of the relations we were part of along the way."

"Unity-Gain is a collaborative sound art project led by artist-musicians Mendi + Keith Obadike. The project collects sounds from artists and musicians and makes them available to other artists-contributors for creative use for Unity-Gain projects. We hope the sounds will be used for sound art, music, radio works, and media art projects. We only ask that you make the make the projects freely available, give us notice (Contribute@unity-gain.net) and credit the source artists and Unity-Gain. All derived projects are licensed under a Creative Commons Attribution-Non-Commercial 4.0 International (CC-BY-NC 4.0)"

"Over the past 40 years "sound art" has been hailed as a new artistic category in numerous writings, yet one of its first significant exhibitions is mentioned only in passing, if at all. The first instance of the hybrid term sound art used as the title of an exhibition at a major museum was Sound Art at the Museum of Modern Art in New York (MoMA), shown from 25 June to 5 August 1979. Although this was not marketed as a feminist exhibition, curator Barbara London selected three women to exemplify the new form. Maggi Payne created multi-speaker works that utilized space in a sculptural fashion; Connie Beckley combined language and sounding sculptural objects, showing sound in both a conceptual and physical manifestation; and Julia Heyward's work used aspects of feminist performance art including music, narrative, and the voice in order to buck abstract aesthetics of the time. This paper uses archival research, interviews, and analysis of work presented to reconstruct the exhibition and describe the obstacles both the artists and the curator encountered. The paper further provides context in the lives of the artists and the curator as well as the surrounding artistic scene, and ultimately exposes the discriminatory reasons this important exhibition has been marginalized in the current discourse."

'Profile,' a single-channel self-portrait by Candice Breitz (born 1972, Johannesburg, South Africa) reflects on Breitz's nomination as one of two artists chosen for the South African Pavilion at the 57th Venice Biennale. 'Profile' fuses self-portraiture with brand promotion, biography with racial profiling, artist statement with political campaign. It interrogates the workings of representation, addressing the complex relationship between the identity of an artist and the specificity of their practice. Rather than appearing before the camera herself, Breitz collaborates with ten prominent South African artists who could equally have been selected to represent the country

This site explores and archives the many questions, compositions and ramblings of sound that listeners and creators experience. From abstraction to music, all forms of sound art and experimental recordings will be presented here. Every entry has a playable audio clip with relevant photography and notes. It is my goal for this site to capture the interests of audiophiles, artists and the merely curious. Sound is Art showcases recordings from around the world and submissions for sharing work on this site is open to all. Please note that I am not a critic or an agent. I am a sound artist. I run this site to give back to the artist community and to honor the beautiful sound work that often goes unheard.

"Rabbit Travelogue was originally initiated by Rita Hui and Edwin Lo. This project is an on-going dialogues and travelogues between the two artist (Rita on visual; Edwin on sound) about the changes and happenings in Hong Kong. Through the fictional character in the project, Rabbit, witnessing happenings and locating different scenes in Hong Kong, this project tries to articulate the two artists' discussion about the changes in cityscape, soundscape as well as questioning and exploring the essence of memories about the environments that we have been. Past and present; absent and present; the artists are still in adventure among these."

"Most non artists think that a work of art begins with an imaginary grand design, which is then made real by using the techniques the artist has developed.   That's not the way it usually happens.   It's certainly not the way interesting art usually happens.  In the beginning there is most often nothing, and nothing, and nothing for hours and days, and sometimes weeks and months.  There are scores or hundreds of false starts.  Then, when something does pop into the artist's head it isn't anything close to a grand design.   It's usually an inkling, a notion, a fleeting feeling.  It's an unintentional smear in one corner of the same canvas the painter has been fruitlessly fiddling with all along.  But it suggests something.  It's a start, only an idea, a hunch, but nevertheless something concrete to work with."

"What is sound art? And what do we know about its origin story? We explore this question and more with our guest this week, artist and educator Judy Dunaway. An adjunct professor in the History of Art Department at Massachusetts College of Art and Design, Dunaway's recent article, "The Forgotten 1979 MoMA Sound Art Exhibition," is a fascinating look at the history of sound art and highlights important contributions by female artists. In our wide-ranging discussion, we also hear about Dunaway's own artistic practice, from her work with latex balloons to transmission art to a "phone improv" show over BlogTalkRadio a decade ago."

Kate Donovan is a radio artist/practitioner, facilitator and researcher based in Berlin. Her artistic practice deals with radio in an elemental sense, in terms of frequency, transmission and interconnectedness. Her editorial and organizational work in free and community radio fosters inclusion, diversity, and experimentation. With questions of science-fact, the imagined, physical immersion and the "environment" in mind, her research (and in turn, her practice) is an exploration of radio as a natural phenomenon, an artistic medium, and a site for resistance.

In the decades following World War II, the musical score emerged as a unique and powerful medium for experimental art. A new movement of visual artists, composers, poets, and performers reimagined the score-traditionally defined as the written representation of a musical composition-as a tool for structuring experimentation in the nascent fields of performance art, conceptualism, and intermedia. They drew inspiration from unconventional musical notations devised in the early to mid-1950s by the composers Earle Brown, John Cage, and Morton Feldman. The new movement's use of experimental scores spread during the 1960s through publications, festivals, concerts, classrooms, networked correspondence, exhibitions, happenings, and a renewed awareness of score-like antecedents in the charts, diagrams, sketches, and written instructions of earlier avant-gardes, from Dada and Surrealism to the Bauhaus. By the later years of the 1960s, diverse communities of artists, musicians, poets, and dancers had transformed the possibilities of the score into an ever-expanding universe of textual, symbolic, and graphic marks. They used experimental scores to stage a multitude of practices that dismantled and recast the traditional boundaries of artistic media.

the French artist Karine Bonneval was an artist in residence in a lab that focused on soil biodiversity. One of the questions she asked the scientists was "What sounds do fungi make as they grow through soil?"

"Sound is everywhere in tropical forests. Rain drips from water-slicked leaves, birds screech, monkeys titter and bellow, branches crack, wind moans, and insects chirp and buzz. Vibrations pierce the humid understory and echo through the airy canopy, creating a symphony of sounds that speaks to both artist and scientist. Monacchi is harvesting artistic inspiration as well as data. The chirps and rattles contain information about how species interact with the environment and each other, as well as the health of the habitat. Sometimes Monacchi uses his recordings to inspire the public, sometimes to inform ecological research. "I'm trying to be at the edge of both worlds," he says."

radio and sound artist who works with a focus on expanded radio art in all its forms. "I've been exploring the artistic potential of radio and its use outside of conventional settings from ready mades to creating transmitters and site specific multi media installations which draw on aspects wireless technology and art for the environment. I am investigating radio art and expanded practice across the spectrum, working on projects across air, land, sea and space whilst drawing on experimental radio history as well as focusing on Art for the Environment."

"Shortwave Collective is an international, feminist artist group established in May 2020, interested in the creative use of radio. We meet regularly to discuss feminist approaches to amatuer radio and the radio spectrum as artistic material, sharing resources, considering DIY approaches and inclusive structures. ​"

"Lumière is a concert series exploring the artistic dialogue between high precision lasers and percussive sounds. It is based on a unique vector graphics software, which the artist is developing since 2010. The software allows to generate rapid successions of visual shapes and associated sonic events, and to manipulate them in real time. Lumière is permanent work in progress, with each performance being a snapshot of the current state. Since the premiere in 2013 Lumière got three fundamental revisions, and countless 'minor updates'."

"Creative Time presents Playing the Building, a 9,000-square-foot, interactive, site-specific installation by renowned artist David Byrne. The artist transforms the interior of the landmark Battery Maritime Building in Lower Manhattan into a massive sound sculpture that all visitors are invited to sit and "play." The project consists of a retrofitted antique organ, placed in the center of the building's cavernous second-floor gallery, that controls a series of devices attached to its structural features-metal beams, plumbing, electrical conduits, and heating and water pipes. These machines vibrate, strike, and blow across the building's elements, triggering unique harmonics and producing finely tuned sounds. "

Andra McCartney is a multimedia soundscape artist, composer, performer and poet. Currently she is working on 'Soundwalking Home', a series of soundwalks through neighborhoods in which she has lived, and a soundscape documenting the Lachine Canal region, near Montreal. McCartney's installations have been shown at Maid in Cyberspace Encore (Montreal), KAAI Modern Fuel Gallery (Kingston, Ontario), miXing Women In Sound Art Festival (Chicago), The Kitchen ... Her writings have been published in Leonardo Music Journal, MusicWorks ... She has collaborated with visual artist P.S. Moore, championed the work of soundscape composer Hildegard Westerkamp, and she is actively involved with the World Forum for Acoustic Ecology. She lives in Montreal and is teaches at Concordia University, Montreal.

"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."

"framework began broadcasting in june, 2002 on the newly reformed resonance 104.4fm in london. the show now airs on 5 radio stations around the world, with more to follow soon, and streams and podcasts here on it's own website. framework is consecrated to field-recording and it's use in composition, and began broadcasting at a time when a new community of sound artists with a special interest in found sound was developing, a community spread across the world that, thanks to the internet, was no longer limited to a specific geography. framework sees itself as an outlet for this ever-growing and developing community, a folk-tool in a new folk movement, a community driven exchange point for creators and listeners alike. framework's goal is to present not only the extremely diverse sound environments of our world, but also the extremely diverse work that is being produced by the artists who choose to use these environments as their sonic sources. we hope to ask this question: is 'field-recording' a style, or a genre, or is it in fact as uncontrollable and undefinable an instrument or tool as any, that may be interpreted, manipulated, and appropriated by anyone with a microphone and an idea? these works are its definition, and not vice versa."

"If, as the sound artist Stephan Moore likes to say, the laptop has become the 21st-century folk instrument, then the Caramoor Center for Music and the Arts in Katonah has propelled itself to the forefront of that development, commissioning and bringing to its 90-acre campus an exhibition of sound art featuring 10 works by 11 laptop-wielding artists."