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"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."

"For Landscape / Soundscape at the University of Pennsylvania's Arthur Ross Gallery, 10 sound artists were commissioned to create soundscapes responding to ten landscape photographs in the university's art collection. "I spent a lot of time just meditating on the photographic images, and I began yearning to hear some sort of sonic interpretation of the imagery," co-curator Heather Gibson Moqtaderi, who is associate curator and collections manager at Penn's University Art Collection, told Hyperallergic. "I felt that a balanced experience between sight and sound would most effectively convey this idea.""

"This curated collection is part of a broader research endeavor in which data, sonification and design converge to explore the potential of sound in complementing other modes of representation and broadening the publics of data. With visualization still being one of the prominent forms of data transformation, we believe that sound can both enrich the experience of data and build new publics."

"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?"

""The Music Box," the project of which this tower is a part, is one of those things that requires a hyphen or a compound word to describe; Delaney Martin, its curator, calls it "a shantytown-sound laboratory." "

"Center for Visual Music is a nonprofit film archive dedicated to visual music, experimental animation and avant-garde media. CVM is commited to preservation, curation, education, scholarship, and dissemination of the film, performances and other media of this tradition, together with related historical documentation and artwork."

"60 medical infusion sets, water, fire, metal sheets 20 x 20 x 4 cm", 2013 medical infusion sets, water, fire, metal sheets dimensions variable Installation view: Meetfactory Prague, Czech Republic. Curated by Karina Kottová and Daniel Vlcek. Project management by Ulf Kallscheidt. Project coordination by Venuse Tesnerová. Assisted by Ulf Kallscheidt, Florian Buerki and Anna Fach. Kindly supported by Pro Helvetia - Swiss Arts Council. Video courtesy of the artist.

"In Famous Deaths, you experience the smells and sounds of the last four minutes of someone's life, all while closed inside a metal mortuary drawer. The project developed by scientists and designers with Avans University of the Applied Sciences in Breda, Netherlands, involves curated scents for John F. Kennedy's final motorcade, Whitney Houston's last bath, Princess Diana's fatal ride, and Muammar Gaddafi's violent end."

Published on Jul 1, 2009. A catalogue for the Sound Escapes exhibition curated by Angus Carlyle and Irene Revell held at Space Gallery, London, 2009."

"Bells ring, but it's not your grandmother calling you to dinner from the backyard. Bells ring and people shout, but it's not in a train station. Bells ring, people shout and a motorcycle whizzes by. Cars honk. "Dolla dolla dolla," the hawkers call. Despite standing in an underground gallery at the Smithsonian's National Museum of African Art in Washington, D.C., visitors are instantly transported to the Balogun Market in Lagos, Nigeria, through Emeka Ogboh's sound art installation, "Market Symphony." Open through Sept. 24, this is the museum's first sound-art installation, thanks to curator Karen Milbourne, who has a special interest in sound art. Ogboh appeals directly to only one of the five senses-hearing-to re-create the atmosphere of an open-air market. Upending the traditional museum visitor experience presents several opportunities."

" I'm curating a collection of auditory illusions found in indigenous folk practices, popular music, and scientific research.  The focus is on finding examples from each sphere that are as beautiful and engaging as they are educational. As the collection takes shape this blog will be structured as an archive of illusions and phenomena, searchable by terms from both science and culture."

"Asked to curate a night of insect music for Pestival at London's Southbank Centre, wildlife sound recordist Chris Watson thinks he may just have found a 15th-century iPod"

A series of curated sound works for the museum's elevator.

"A Thing Heard: Four Ways of Listening is a collaborative tour showcasing the work of four contemporary British artists working in the field of sound art. The artists have curated a collection of sculptural artworks that use sound as the primary medium, exploring the inherent materiality and physicality of sound through a range of media, working methods, and outcomes."

"Sound in Context is a short documentary exploring the unique practice of sound within the visual arts world. Through conversations with a number of key art institutions/galleries, artists and curators working with sound in the UK, Sound in Context allows practitioners to discuss some of the issues of presenting and exhibiting sound in the gallery and contemporary art domain."

"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."

"What does it mean to listen to the past? An exhibition curated by Nida Ghouse"

"The phonography scene is small and fragmented, yet ambitious and international - all factors which make it simultaneously hard and easy to keep up with developments. Ever since it was founded, Gruenrekorder has attempted to be more than just a label and turned into a hub for field recording-related issues and projects. They therefore seemed like an obvious choice for Angus Carlyle as curators for the audio part of his „Autumn Leaves" compendium."

Artist reference In this interview artist Jem Finer discusses his recent body of work with David Rooney, Curator of Timekeeping at the National Maritime Museum. In his Longplayer project Finer set himself the challenge to develop a 1000 year long musical score, working within the confines of today's technology and considering how sustainable the possibilities may be over time.