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"Sound Garden is a 16 inch high, 15 foot square platform of wood squares that recreates a section of a gymnasium floor, or a high-finish dance floor. The parquet is framed by a three foot wide planter of white pansies in full bloom. Suspended above the platform, in the manner of a public address system, are four out-sized black speakers. The speakers emit a three-phase, four-track audio component of verbal instructions for dance routines, the bouncing of a basketball on the floor of the gymnasium, tap dancing and the swiping of an eraser on a blackboard. The work thus takes the form of a rather peculiar hybrid structure with visual, auditory and olfactory dimensions."

"For over a year now, London has been a simmering site of dormant musical gatherings and suspended physical proximities, prompting me to wonder what's happened to the visceral, tactile energies through which collective musical formations gain so much of their social and emotional force. As Ben Assiter points out, the migration of electronic dance music online during the pandemic accelerated currents that were already underway with the ubiquity of livestream platforms like Boiler Room. With physical assembly prohibited, the dematerialization of collective musical experience gave rise to a whole new level of face-to-screen "participation," as solitary DJs began broadcasting live from empty clubs to bedroom audiences, who in turn performed "ironic dance floor interaction[s]" in the chat boxes."

"Pressure Sequence started out as a question: Dancing is body language at it's purest. But can you transform, translate this language? What happens if you strip away the visual layer? Is it possible to create a virtual dance, just out of sound? Does dance survive this transmission? Do we create new images? Is it still dance? Do we move along?"

"the human telephone was like an electromagnetic update to the oracle at Delphi: a lone female figure with access to distant voices, dancing slowly across a dance floor secretly wired from below, an interactive surface whose hidden technology extended up into her very clothing. "

"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."

"For the Venice Biennial Nevin Aladağ restages Raise The Roof which was performed for the first time in Berlin in 2007 on a rooftop in the former border section between West and East Berlin.  Seven female dancers leave their traces on the copper stages with their stiletto shoes while dancing to given songs, played on their headphones. The audience can read the different titles on the shirts of the dancers. What the audience hears is a rhythmic sound produced by the stiletto steps. Each dancer produces another frequency of a drum set, from high hat to bass drum. "

"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."

"Spanning the 42 St. Connector between Times Square and Bryant Park in New York City is a troupe of dancing figures dressed in vibrant costumes of feather and fur. The ebullient characters are based on the iconic series of Soundsuits by Chicago-based artist Nick Cave (previously) and are the first part of a massive permanent installation titled Each One, Every One, Equal All in the public transit corridor."

"Exclusively composed with/from recordings of bees in the Olivier Darné's hives, located in Saint-Denis, suburb of Paris Going over bee, ears in the wind, we feel the density of real and also throw ourself into this dance of oscillations. From the site specific installation, commissioned by Les Instants Chavirès (France) for La Brasserie Bouchoule during Lieux Communs festival 2007"

Dr. Bernie Krause, creator of Wild Sanctuary, demonstrates that every living organism produces sound. This presentation focuses on the symbiotic ways in which the sounds of one organism affect and interrelate with other organisms, local and regional, within a given habitat. Learn about unusual soundscapes and their relevance to preserving natural sounds worldwide. Biophony--the notion that all sounds in undisturbed natural habitats fit into unique niches--will be used to illustrate the ways in which animals taught humans to dance and sing.

"Van Dam and de Boer have developed the following idea from these different interests. In several recordings of Dam filmed (and sound is recorded) when he performs Sequenza VIII . Emphasizing first half total, the body and the intimacy with the instrument. Then abstract details filmed, like his hands, his ear, details of the violin, strings and the like. In the editing is from the portrait / body of the violinist a more fragmented, abstract image created a physical, gives spatial experience in the tension between the music and the image rhythm. If the body and the violin in abstract details and solve dancing away in the (sound) space."

"As If It Were The Last Time is a subtlemob about celebrating the present, about home, belonging and loss. A snapshot of the world around you, a chance to savour the moment, and make new connections with the people and the place surrounding you. This is no requiem, this a celebratory slow dance, a chance to present in the world, and to see it with fresh eyes."

"To engage with the notion of musicality in Agnes Martin's work, Pace Live presented performances by the musician Laraaji and members of the group Gang Gang Dance amid the recent exhibition Agnes Martin: The Distillation of Color in New York. The performances highlighted the ways that the legacies of Martin's distinct visual language and philosophies about art making have touched some of the most innovative musical artists working today."

"Silenced voices of disappeared dissidents and migrant slaves. Melodies lost to the violence of empire. Vanished monuments marking anti-colonial choruses. Hidden, transgressive dances of migrant domestic workers. Inaudible and obscured, these sounds and movements haunt Hong-Kai Wang's work. Rather than erecting monuments to these pasts, Wang uses listening, sounding, and singing as conduits to these lost or absent acts across temporal and geopolitical distances. This practice, situated around sound both real and imagined, might be described as anti-monumental."

"If you were to choose to watch live video composer and performer Ana Carvalho's work silent, your brain would be easily guided into a synesthetic experience, assigning sounds to each rhythmic change in color, pace, frame. Her images oscillate…they dance, they breathe. As you experience this, there might be a sense that you have lost your ability to hear the outside world, as these images are clearly attached to, woven with, a part of sound."

The life and work of Umashankar Manthravadi is a history of sound and technology through the second half of the 20th century. As a self-taught acoustic archaeologist, he has been building ambisonic microphones since the 1990s to measure the acoustic properties of premodern performance spaces. This exhibition responds to his practice and proposes possibilities for listening to the past and its absence which remains. Centred around an audio play and a video installation, A Slightly Curving Place brings together writers, choreographers, composers, actors, dancers, musicians, field recordists, and sound, light, and graphic designers who engage and transform each other's work. Elements from Umashankar's biography serve as a compass amid the material in vitrines, as a dancing body positions the endlessness of time in relation to a series of ruptures that is history. Under a dome of speakers an assembly of listeners gathers to sense a past they cannot hear. The sound that arrives is only a record of sound as it might have been.

"Andante" was created by MIT's Tangible Media Group as a way to promote an understanding of the way that music is rooted in the body, an experience that transcends more than just the ears. The group, led by Professor Hiroshi Ishii, gives physical form to abstract digital information, providing delightful visuals to more complicated processes."

"Bodyscape is inspired by the body of a dancer as sonic source. The information is taken via biosensors and microphones, which record movements and events generated by the body. In this ecosystem, the dancer produces sounds, mainly inaudible, which are then amplified and send back to the performance space, where the dancer interact with them as biofeedback. The site-specificity of the work relates to the spatial considerations and resonances. Field recordings were collected at the border of Botswana and South Africa. L'épidemie virale en Afrique du Sud, a text from the Swiss writer Friedrich Dürrenmatt, informed the journey. The text describes a virus transforming white persons into black persons. A text about privileges."

"Mariska de Groot is a Dutch interdisciplinary artist who has been making and performing comprehensive analog light-to-sound instruments and installations for the last few years. Just like Dewi de Vree, who we've featured before on this blog, she is a part of iii, an artist-run platform supporting radical interdisciplinary practices engaging with image, sound and the body in the Hague."