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"Darsha Hewitt is a Canadian artist who makes electromechanical sound installations, drawings, videos, an experimental performances. See her other unique work here (take the brilliant "20 Oscillators in 20 Minutes" for example, which is part experimental music performance, technical challenge, and comedy act!). She has an interest in demystifying the invisible systems embedded throughout domestic technology. This is also visible in the above artwork, Electrostatic Bell Choir (2012)."

"Is Jeanne Dielmans' apartment on 23, quai du Commerce in Brussels a haunted house? It might well be. Because the dwelling where most of Chantal Akerman's 1975 masterpiece is set is often eerily deserted, with only the distant sounds of shuffling feet and clanging keys filling its hallways. As the camera waits for the titular protagonist to arrive (or lingers after she has left), the rooms are reduced to echo chambers. Jeanne Dielman is disembodied, a ghost even in her own domestic realm. Her visual absence in these moments represents quite literally the invisibility of her plight: a life lived in the shadows, a fate suffered just around a corner, conveniently out of view for the rest of society."

"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."

"During the Covid-19 pandemic, comparisons have often been drawn between lockdown measures and prison, yet people with lived experience of prison have countered that such domestic confinement bears little resemblance to the pains of imprisonment. These different viewpoints suggest that the general public has little understanding of what happens behind prison walls. This blogpost considers how prisoner writing can describe prison to the non-prisoner reader (i.e. a reader who does not have lived experience of prison), bearing witness to the carceral experience. Drawing on examples of short stories about prison, written by current or former prisoners, I examine how these writers recreate sensory aspects of prison in their writing. Carceral texts commonly recount the sights, sounds, touches, tastes and smells of prison; but, in my experience of reading and analysing prisoner writing, it is the depiction of prison sound that is most powerful and affecting. In this blogpost, I examine how prisoner-writers translate the speech and sounds of prison into written form, to convey the carceral experience to those outside prison walls."

"A Japanese-Korean working with installation, performance and composition, residing in Huddersfield, UK.  Her works sculpt domestic appliances and scrap wastes with invisible energy, especially interested in heat, magnetism and gravity, into kinetic contraptions. Her site-specific works infuse both aural / visual occurrence as one entity, creating ephemeral situations that magnify silence, time and space. Interested in nature of relativity, culture and system, her artistic practice examines architecture, environment, conflict and fluidity. "

"24 hours with sounds from artists, made in their daily work and life during spring 2020. A different artist every hour (based on CEST). For a good experience of the hours, we recommend the use of headphones."

"Artist Jana Winderen transports us underwater, to listen to the sonic wonders of the sea."