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"The Music Construction Machine is a large, public, generative music box, which people can operate via a big hand crank. The project is on public display in the Goethe-Institut Pop Up Pavillion in Wroclaw, Poland, as part of the cultural capital program."

"Spring with Machine Age Noise No 1 was painted by Graves in 1957. It is among the first in a series of similar works all made that same year by Graves (see also Spring with Machine Age Noise No 3 1957, collection of Nancy Lassalle, New York; reproduced in Kass 1983, p.132). The artist had returned to his home in Woodway, Seattle, late in 1956 following a two-year period in the remote Irish countryside. He was upset to discover that the previously peaceful landscape was now regularly disrupted by the noise of construction work and of jet planes flying overhead. This was his motivation to paint a series of pictures in which the natural landscape was set in contrast to the disturbing vibrations of mechanical noise that now shattered the peacefulness of the scene. "

"In November 2019, visitors to the Tate Exchange were invited to experience urban noise as a multi-sensory art installation. The artwork KIMA Noise was developed by the Analema Group over the last two years in collaboration with Dr Stephen Stansfeld (Queen Mary). Audiences were drawing their graphic impressions of urban noise as a real-time sound sculpture. Audiences could experience urban sound from around the Tate as trajectories of sound, travelling through the space of Tate Exchange at Tate Modern. Four real-time streams, from construction noise, to railroad tracks were visualised on the panoramic windows of the Tate's monumental architecture. Through direct experience, the audience learned about the effects of noise, while shaping and designing their own soundscape."

"A marching machine is a percussion instrument designed to produce the sound of marching feet when played on a wooden or metal surface.[1] It is constructed from a number of short pieces of wooden dowel suspended by string netting within a wooden frame.[2]"

"What do you think we are not hearing? Can listening encourage us to challenge our assumptions, and change our behaviour and decision-making processes concerning our relations to non-human species? Can human opinions on invertebrates be shifted through listening? I have been developing a process for constructing synthesized "built" soundscapes of hidden sounds. Built Hidden Soundscape: Pipeline Road, Gamboa is a preliminary result from this research. I made the field recordings for this built soundscape while at the Digital Naturalism conference in Gamboa, Panama in August 2019. The video shows a scrolling image of a spectrogram. A spectrogram is a bioacoustic tool that shows how sounds sit together in a soundscape. The Y axis represents frequency (Hz) and the X axis represents time. This spectrogram, however, focuses on 'hidden sounds' - sounds that cannot be heard by humans without the use of technology; sounds that are easily heard by human ears are excluded from this synthesized, artificial rendering of a soundscape. The sound work consists of field recordings from Pipeline Road in Gamboa, bookended by the dynamic dawn and dusk soundscapes of Pipeline Road. This built soundscape includes ultrasonic sounds (above the range of human hearing, played back at lower frequency), substrate-borne vibrations, and otherwise very quiet sounds. "

"Watching people, talking with them, and actively engaging in social practices are the participatory techniques through which the ethnographer learns to see the world as his or her participants do, rich with socially constructed and historically situated meaning. Yet the focus on seeing the world as your participants do sometimes eclipses the other sensory modes that people employ to make sense of social and material interactions."

"Becoming an attentive and critical listener is a learned skill toward which soundscape studies can contribute. Such study focuses on purposeful listening to all types of acoustical environments --from those of daily life, the world of nature, other cultures and places, to those audio soundscapes constructed for media, museums or virtual spaces. It also encourages action in the preservation, modification, or creation of acoustic environments when needed. "

RICHARD LERMAN, works in Music, Film, Installations, Performance, and Video. He often constructs functional microphones from diverse materials, and then composes using these transducers to amplify and pick-up sounds of the environment, and allow the sonic flavor of each material to be heard. Recent works combine sounds from his self-built microphones with computer and MIDI techniques. bio from http://www.artifact.com/bio.php?name=Lerman

"I'm quite late hearing this for the first time, but I was thrilled to discover composer Pierre Sauvageot's Harmonic Fields project, a participatory landscape of wind-activated musical instruments temporarily installed on the beach near Birkrigg Common, Cumbria, England. The haphazard plinks, drum rolls, whistles and drones is often mesmerizingly beautiful, as the following video makes clear. It's a kind of weather plug-in, constructed as a sequence of very different movements in space."

""I can hear with my knee better than with my calves." This statement made by Bernhard Leitner, which initially seems absurd, can be explained in light of an interest that he still pursues today with unbroken passion and meticulousness: the study of the relationship between sound, space, and body. Since the late 1960s, Bernhard Leitner has been working in the realm between architecture, sculpture, and music, conceiving of sounds as constructive material, as architectural elements that allow a space to emerge."

Synopsis: this bitter-sweet comedy tells the story of a man who suffers from hyper-acoustic sensitivity, which makes his life in Tel Aviv, one of the noisiest urban locations on earth, a living hell. His quest to live in peace and quiet by politely asking neighbors for basic consideration, or by addressing the boisterous passing-by to re-consider the mere fact they are 'not alone in the world', or even by trying to plea to the authorities: Police and Municipality - or even worse: talking the law into his own hands: all means have proved nothing but his bitter impotency in the face of the irrepressible Israeli "noise-mania". So he decides to act. He constructs a special surveillance apparatus in order to monitor and control the invading street-neighbor-noise, and with the help of a "God-like" megaphone he takes control over the intruding street noise. His fantasy to silence also the noise within his own family life, turns co-existence with him unbearable. It doesn't take long before it becomes inevitable that he would have to pay the price.

"Intro from Jeff Towne: A common dilemma for independent producers is how to record professional-sounding narration outside of a studio. Building a sound booth means major construction: It's expensive, takes up space, and can be impractical for renters and those in a small homes. Are there affordable alternatives? Independent producer Yowei Shaw has tried a few options, and she's found a good solution for recording her voice tracks at home."

"The table is made of steel rods and filled it with beach rocks, then it was lowered into the ocean near Pillar Point in Half Moon Bay, where over the course of two months it accumulated living accretions from the ocean. Atop the table is an oversize sound-amplifying funnel reminiscent of the hailing horns used on whaling ships, which is constructed of laser-cut panels of polycarbonate lashed together with nylon zip ties. The horn amplifies and concentrates a sound recording made by a hydrophone close to where the table was submerged."

"Tsang's new site-specific installation, Anthem (2021), was conceived in collaboration with the singer, composer, and transgender activist Beverly Glenn-Copeland (b. 1944, Philadelphia) and harnesses the Guggenheim Museum's cathedral-like acoustics to construct what the artist calls a "sonic sculptural space.""

"Henrik Håkansson (b. 1968 Sweden) devotes his work to studying the complex connections between humans and nature. He carefully constructs environmental experiments that ask participants to explore their impact on the environment that surrounds them, such as in the installation Frog For e.s.t. (eternal sonic trance) (1995). This piece consisted of a room filled with inflatable pools, humidifiers, insects, frogs, strobe lights, and a DJ mixing techno music on site. Projects like Frog For e.s.t. examine the intrusion of human artifice on the environment: what happens when we attempt to recreate delicate ecological systems? What are the effects of human-made sounds replacing the natural soundscape?"

"Good Life Taylor's idea was to create a vibrant, creative, musical space within the City of Taylor parks system where people of all ages can gather, create music, and enjoy the outdoors. Good Life Taylor offered to pay for the development of a concept plan for the playground and to fund construction costs not covered by other sources, and they have been hard at work raising funds for the past several years. The playground, created in the shape of a musical treble clef, is located in Murphy Park between a lake and a swimming pool in an area previously a sand volleyball court. The playground includes native landscaping, a shade structure, and site furnishings."

"This 9-channel sound, light & smoke installation was created in collaboration with the independent sonic arts collective Call & Response, Sep 2015 London Subterraneous takes the work of seventeenth century alchemist and scientist Athanasius Kircher as inspiration. Kircher was a polymath and inventor, who researched fields as diverse as medicine and Egyptology, and designed and constructed wondrous sound and vision automatons. These included a collection of so called speaking statues whose spiral mouths would lead out into the streets of Rome like giant trumpets. In this way the speaking trumpets or 'hearing lens' would reveal the cacophony of Rome to the listener. London Subterraneous aims to link Kircher's 'speaking trumpets' with his fascination of geology and underground reverberations and find a way to explore London's mundus subterraneous For this project, special microphones have been used to access sounds from a series of "stink pipes" that connect the city's familiar terrestrial environment to a lesser-known complex network of sewers and rivers below. The towering, hollow pipes, now rusting fixtures dotted across London erected as safety valves to vent excess toxic gases along a newly built Victorian sewer network in the 1860's allow us to connect through our past and eavesdrop on the capital's underground world. The resultant exhibition is a portrait of some of the sounds created below ground and through the pipes themselves "Although these stink pipes are nowadays "useless" this work aims to reveal them as poles of sound, or as singing flutes. In a way these are tones from the past." Jacob Kirkegaard"

"In theoretical physics, 'Bosonic' refers to the original version of 'string theory', developed in the 1960s. Although the initial hypotheses behind Bosonic String Theory have since been expanded and modified, the underlying principle remains intact; that the various properties of matter and force can be a reflection of the ways in which a string vibrates. The oscillating properties of these hypothetical strings determine the properties of particles and all forms of energy. As such, the theory proposes that the entire world may be composed of these infinitely small vibrating 'strings'. Bosonica is a sonic exploration of the concepts behind this theory. The sound material which underpins the work is predominantly sourced from stringed instruments, in particular piano, guitar (acoustic and electric) and cello. At times the original properties of these vibrating strings are very present and recognisable, however the work explores increasing blurring and abstraction, creating new constructions from the original material and presenting to the listener dense and abstract dimensions. Despite this, the untreated instrumental material consistently returns as a reminder that it serves as the building block from which all other material is derived. The use of 5.1 spatialisation magnifies the perceived kinetic energy of material. Small gestural fragments are scattered over the 5.1 array to form accumulative trajectories of sound, and the listener becomes immersed in the dark abstract landscapes generated by the sounds of strings. The work was composed in 2009 in the Electroacoustic Music Studios of the University of Manchester, UK. With thanks to Emilie Girard-Charest (cello) and Camilo Salazar (guitar)."

"This thesis is an exploration of some of the discourses arising out of the current ecological crises (Haraway 2016; Horton 2017) and argues that radio art is a constructive method for opening out practices of listening, for helping move beyond anthropocentric dialogues, and simultaneously beyond the constraints of dominant modes of storytelling. Ecological Thinking (Code 2006) and concepts of Planetary Time (Dimock 2003) are a useful framework from which to view contemporary radio art practices because they accentuate long and complex networks of interconnectivity, not only within nature, but, more recently, between living beings, technology and the environment. By identifying the interconnectedness of radio and transmission, and the possibility for immersion not only in the content but the process of the medium itself, it is hoped that recognition will be given to the necessity to think ecologically (holistically) in order to create sustainable symbioses between humans, technology and the living and 'non-living' entities of the planet. I begin by providing an outline of anthropocene discourses intertwined with radio and radio art practice. Then I describe and contextualize the radio art work 'chorus duet for radio' (Donovan 2016), positioning it as an example of a collective, trans-scalar listening encounter. I move on to posit radio as a valuable medium from which to critique and disrupt masculinised and westernised (radio) histories, and as an outlet for feminist, queer, and speculative re-tellings of the past. History is viewed here in the same way as electromagnetic radiation: as matter to be untangled. Finally I use the garden radio art project Datscha Radio17 (Schaffner 2017) to give an overview of how radio can be implemented in an expanded way to examine many of the interconnected themes of this thesis: the anthropocene, radio art, ecology, human and more-than-human networks, listening, speculative storytelling, and disruption. This thesis is an explor

" 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."