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"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."

"framework began broadcasting in june, 2002 on the newly reformed resonance 104.4fm in london. the show now airs on twelve radio stations around the world, with regular new additions to its broadcast family, and streams and podcasts here on its own website. framework is consecrated to field recording and its 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 globe 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. "

"Acoustic communication is crucial to humans and many other tetrapods, including birds, frogs, crocodilians, and mammals. However, large-scale patterns in its evolution are largely unstudied. Here, we address several fundamental questions about the origins of acoustic communication in terrestrial vertebrates (tetrapods), using phylogenetic methods."

Positive soundscapes project In the acoustics community, sound in the environment - especially that made by other people - has overwhelmingly been considered in negative terms, as both intrusive and undesirable. The strong focus of traditional engineering acoustics on reducing noise level ignores the many possibilities for characterising positive aspects of the soundscapes around us. Desirable aspects of the soundscape have been investigated in the past, mainly by artists and social scientists. This work has had little impact on quantitative engineering acoustics, however, perhaps because of barriers to communication across different disciplines."

"This issue of Interference asked authors to consider sound as the means to which we can explain the sonic. Contributions to the study of sound, apart from practice-based works, are often disseminated through language and text. This is the case for most analysis or research into sensory based and phenomenological studies. There is of course a strong case to be made for text; it is the universal way in which contemporary knowledge is transmitted. But perhaps there is an argument to be made for new ways to not only explore sound but to disseminate ideas around the sonic. For example, in what way can 'sonic papers' represent ideas about the experience of space and place, local and community knowledge? How can emerging technologies engage with both the everyday soundscape and how we 'curate this experience'? What is the potential of listening methods as a tool to engage community with 'soundscape preservation' and as a tool to critique and challenge urban planning projects?"

"Robertina Šebjanič is one of those rare artists who brings as much attention to the aesthetics and concepts behind her artworks as to the meticulous scientific research that sustains them. Her installations, sound experiments and performances invite us to reflect upon our relationship as human beings with the rest of the world. Over the past few years, she has been collaborating with scientists, hackers, thinkers and other artists to explore themes such as interspecies communication, underwater sound pollution, the possible coexistence of animals and machines, chemical processes, the origin of life, etc. "

Black Quantum Futurism (BQF) is a new approach to living and experiencing reality by way of the manipulation of space-time in order to see into possible futures, and/or collapse space-time into a desired future in order to bring about that future's reality. This vision and practice derives its facets, tenets, and qualities from quantum physics and Black/African cultural traditions of consciousness, time, and space. Under a BQF intersectional time orientation, the past and future are not cut off from the present - both dimensions have influence over the whole of our lives, who we are and who we become at any particular point in space-time. Through various writing, music, film, visual art, and creative research projects, BQF Collective also explores personal, cultural, familial, and communal cycles of experience, and solutions for transforming negative cycles into positive ones using artistic and wholistic methods of healing. Our work focuses on recovery, collection, and preservation of communal memories, histories, and stories.

"Voice Yard is an online space created to encourage people to listen and be heard. Used to perceiving our world mostly visually, we sometimes forget that sound is another important means of perception and communication. Every object reveals itself not only through its shapes and colors, but also through sounds, sometimes even more telling about its essence. We, humans, have always used our voices as an important means of self-expression and communication. There are familiar metaphors revealing its existential importance, such as "inner voice" and "voice of the heart," referring to an intimate "true nature" inherent in this human ability."

This video shows a male Schizocosa ocreata wolf spider displaying courtship behavior. Males of this species use multimodal communication (visual and vibratory/seismic signals) to communicate their species identity and condition to prospective females..

"The farthest distance in every direction from which sounds may be heard. Incoming sounds from distant sources define the outer limits over which acoustic communication may normally occur, and thus help to define the perceived geographical relationships between communities"

"Between 2011 and 2013, thieves committed a rash of burglaries at 12 high schools in the Los Angeles region, stealing tubas from band rooms across the southland. This curious anecdote provides the title for artist Alison O'Daniel's recent film The Tuba Thieves. Although it features re-enactments of the thefts, the film does not focus solely on the incidents; instead, it weaves these scenes together with other loosely related narratives into a patchwork dealing with loss, grief, communication, community, challenging shifts in perspective, and the different ways we experience the world through sound, vision, and touch."

"Radio can be a familiar friend, source of knowledge, a marker of time and place. But as a cultural institution, what constitutes a "good voice" in radio reflects and transmits cultural norms and structures. When I started my Community Storytelling Radio Fellowship at Making Contact, I prepared by reading articles from Transom and AIR media about interviewing, storytelling, and production. I felt more intimidated as I read about advice on 'how to do radio,' especially since some parts were very physical (e.g., holding a microphone close to a person for a significant length of time). I wondered, "Where do disabled people like me fit in the radio community? Why don't articles about diversity in radio ever mention people with disabilities?" Al Letson's 2015 Transom manifesto explores the the default straight white male voice. It resonated with me immediately and I'd also add that the "default human being" on radio is able-bodied as well."

" Hannah Kemp-Welch is a sound artist with a social practice. She creates works collaboratively and in community settings, often responding to social issues. Recent projects include Nomadic Listening (2024) a series of workshops and radio installation for Manifesta15 with communities in the Barcelona Metropolitan region, and o-o-radio! (2022), a project at Wysing Arts Centre constructing homemade radios with d/Deaf young people, to better understand how hearing aids operate."

"Really Good Elevator Music is an experiment that explores the potential of sound to stimulate social interaction and community building in the strikingly diverse Philadelphia neighborhood of Chinatown North/Callowhil, Philadelphia (8th to Broad, Vine to Spring Garden)"

For centuries, residents of Kuşköy have communicated over rural Turkey's vast distances with kuş dili, which literally means "bird language."

"NIC Kay's #blackpeopledancingontheinternet explores ways that Black online communities have engaged in the transcultural exchange of dance, movement, and music, claiming and maneuvering the internet as a space for visible, culturally coded play, political organization, and innovation."

"Daniel Challis, who has cerebral palsy and is unable to speak, is auditioning people to provide his new voice"

The Binghamton Historical Soundwalk Project is a multi-year civic engagement project using the theories and methods of the field of sound studies to identify and intervene in community issues and concerns."

"For three centuries, farmers living in the remote mountains of northern Turkey have communicated great distances by whistling. It's a language called kuş dili that is still used to this day, though fewer people are learning it in the age of the cell phone. It's also known as bird language, for obvious reasons. Muazzez Köçek lives in Kuşköy, and she is the best whistler in her village. Muazzez shows us how she uses varied pitch frequencies and melodies to translate Turkish vocabulary into whistles with meaning. "

"Two Postcommodity members, along with composer Guillermo Galindo, are partnering with members of a fast-gentrifying Santa Monica neighborhood to produce a sound-based artwork of contested histories."