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The Song Books by the sound artist Rolf Julius (born in 1939) consist of several bound sheets of Japanese paper, of which each sheet is marked by a different kind of spot.[1] These red or black spots are prints of the processed photographs of color pigment clusters. Julius had already used these types of pigment clusters in earlier sound art installations, combining them with different sounds. There were similar sheets in his Piano Piece No. 1 (1998), whose title indicates that they can be performed musically.[2] It would hardly be possible to detect this solely on the basis of their visual form. According to Erhard Karkoschka, Julius's musical graphics can therefore be classified as pure musical graphics, that is, as musical graphics without a staff.[3] It must above all be stressed that musical graphics constitute individual solutions to problems with notation as perceived by an artist, and therefore stand out due to their different relationship to conventional notation. When interpreting musical graphics with so few parameters, which is the case for the Song Books, the performers have to develop a convincing translation for the ambiguous parameters. In the Song Books, the repetition of a similar form-in this case, the various spots-directs the performer's gaze toward minimal differences, such as the different sizes or fraying of the spots,[4] which are then translated into sound.

""the role of smells in our perception of and engagement with the past has not been systematically explored." Their findings, presented under the title "Smell of heritage: a framework for the identification, analysis and archival of historic odours," are based on sampling volatile organic compounds (VOCs), which compose most odors, at sites including the library of St. Paul's Cathedral in London. They additionally surveyed people about their olfactory perceptions of historical books."

The book The Hidden City, People and Places in Gothenburg is an exploration of the open and hidden perspectives of this north European harbour town by journalist and writer Magnus Haglund and photographer Stefan Schneider. The cd "The Hidden City" consists of some 15 sound portraits from the city, by artists that are featured in the book or have an interesting relationship with certain places or addresses in Gothenburg.

"What role does ambient music have in society and in musical culture? A new book explores how the genre has developed over the last 40 years"

There are two ways of seeing this act of invention. In one version, it was the realization of an old dream. answering to ancient susceptibilities. The French photographer Nadar, greeting Edison's invention, said it was as if Rabelais's tale of the sea of frozen words, which released voices into the air when it melted, had passed from the imaginary to the real. Rabelais was dead only thirty-five years when in 1589 the Italian scientist Giovanni Batista della Porta, one of the inventors of the telescope, imagined that he had 'devised a way to preserve words, that have been pronounced, inside lead pipes, in such a manner that they burst forth from them when one removes the cover'. Around the same time a Nuremberg optician suggested enclosing echoes inside bottles, where he thought they would keep for a few hours at least.

"Ed Yong's book urges readers to break outside their "sensory bubble" to consider the unique ways that dogs, dolphins, mice and other animals experience their surroundings."

"This site documents examples discussed in my book Between air and electricity - Microphones and loudspeakers as musical instruments. Although most of these pieces and performances are best experienced live, these audio and video documentations might be helpful to get a better understanding of the music."

"Invisible Places has published a PDF with the proceedings from 2017 edition of their conference. 678 pages of vast sonic explorations, edited by two experts in such deepness of the unseen: Raquel Castro & Miguel Carvalhais."

"The Listening Reader, edited by Sam Belinfante and Joseph Kohlmaier, brings together a number of essays that explore the role of sound and listening in the context of contemporary art. They engage with the specific timbre that the act of listening, and the paradigm of sound bring to the practice of artists; how this paradigm is present within a broader discourse, including the creative arts, sciences, philosophy and politics; and how art that begins with, or requires listening circulates in the world of the art gallery."

"Hum: Drone Listening Walks is a 2-colour risograph printed pocket book mapping and poetically detailing resonant spots for audio. Readers are encouraged to walk to the sites on the map at their leisure and participate in a guided sound tour"

"Matthew Rubery discusses the Optophone as part of the 'How We Read: A Sensory History of Books for Blind People' exhibition. For more information see: http://www.howweread.co.uk."

"All animals use their senses to perceive the world, humans included. But not every animal senses the same thing. In Pulitzer prize-winning science journalist Ed Yong's new book, he explores the way each species sees the world through its own sensory viewpoint and explains why that should both delight and humble us."

"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."

"Composer R. Murray Schafer will inspire you to listen to the music of sound. His 1977 book "The Tuning of the World" is full of original, evocative observations and insights about the roles music and sound play in human lives. Schafer, considered by some to be Canada's pre-eminent composer, makes a rare visit to New York, and talks with host David Garland about the ideas behind "The Tuning of the World," and about his music, which includes Patria, a cycle of music and theater pieces on an extraordinarily grand scale."

"In 1999, composer/sound artist Steve Peters undertook a project at The Land, a venue for site-specific environmental art in the high desert of central New Mexico. Wishing to develop an intimate relationship with the site rather than impose his own noise upon it, he devoted himself to the act of listening to the sounds that were there during each hour of the day and night over the course of one year. Spanning the disciplines of acoustic ecology, environmental and performance art, poetry, sculpture, installation, and contemplative practice, Here*ings documents that experience of immersion in a particular landscape, examining the gradual process of becoming connected with Place. In sharing his findings, Peters encourages us to offer our own attention to the subtle poetry that surrounds us. His work reminds us that, beneath the surface of the commonplace, the extraordinary lies waiting to be revealed."

Neuhaus appears rather liberal on matters of sound and noise, not surprisingly for someone who started organizing sound events in the 1960s with the LISTEN! Series, 1966-76 - these promenade tours without commentary consisted in walks to inaccessible indu

Experimental Musical Instruments is an information outlet for interesting and unusual musical instruments of all sorts. Here you'll find how-to materials on instrument making, as well as books and CDs featuring the work of the most inventive instrument ma

"Joe Banks is a sound artist, author and researcher, originally specialising in radio phenomena and electromagnetic noise. For over twenty years Joe has been performing, releasing albums and exhibiting under the guise of Disinformation. This Disinformation brand name allows for a critique of corporate identities and modern communication, and uses a sonic palette sourced from errant radio waves, natural earth signals, and interference from the sun and from the National Grid, etc. In 2012, Joe published "Rorschach Audio - Art and Illusion for Sound" on Strange Attractor press, a book that explored the subject of EVP (ghost voice) research in contemporary sound art practice. Joe's work currently focusses on language and evolutionary neuroscience. Joe lives in London, 40 metres from the spot where physicist Leo Szilard conceived the theory of the thermonuclear chain reaction."

"Images extracted from the latter half of Choregraphie, a book first published in 1700 which details a dance notation system invented in the 1680s at the court of Louis XIV."

"As museums continue to search for new ways to attract visitors, recent trends within museum practice have focused on providing audiences with multisensory experiences. Books such as 2014's The Multisensory Museum present preliminary strategies by which museums might help visitors engage with collections using senses beyond the visual. In this article, an overview of the multisensory roots of museum display and an exploration of the shifting definition of 'object' leads to a discussion of Pierre Schaeffer's musical term objet sonore - the 'sound object', which has traditionally stood for recorded sounds on magnetic tape used as source material for electroacoustic musical composition. A problematic term within sound studies, this article proposes a revised definition of 'sound object', shifting it from experimental music into the realm of the author's own experimental curatorial practice of establishing The Museum of Portable Sound, an institution dedicated to the collection and display of sounds as cultural objects. Utilising Brian Kane's critique of Schaeffer, Christoph Cox and Casey O'Callaghan's thoughts on sonic materialism, Dan Novak and Matt Sakakeeny's anthropological approach to sound theory, and art historian Alexander Nagel's thoughts on the origins of art forgery, this article presents a new working definition of the sound object as a museological (rather than a musical) concept."