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My work fuses the raw material of music into visual, emotional and intellectual forms by drawing with cut paper, shaping and layering positive and negative space into rhythms. The paper is meticulously cut and composed, opened and closed, with a focus on creating lines that specify coherent patterns of light and shadows on a grid, forming a visual musical structure. In essence, the paper itself becomes the instrument that draws light into visual musical patterns.

"The "Sonògraf" is an electronic audiovisual instrument. Thought as a music learning tool for primary schools, it allows the drawing to be transformed into music, turning gestural strokes and geometric figures into electronic sounds. A set of buttons and potentiometers allow live manipulation of the "sonification" characteristics of the drawing, making it possible to speed up, slow down or pause the resulting music, as well as decide its scales and tonalities."

Five ways of mapping the world. One story about people who make maps the traditional way-by drawing things we can see. And other stories about people who map the world using smell, sound, touch, and taste. The world redrawn by the five senses.

"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."

"Recorded in its entirety using just a laptop, a pair of headphones and a midi sampler, Indentations is the debut full length album from New York based percussionist and producer Grant Chapman. Indentations draws deeply on Chapman's personal experiences surrounding loss and betrayal. An intimate work reflecting the struggle of dealing with traumatic experiences, the album makes the case for equilibrium following life-altering experiences. ''The album is a meditation on the sheer weight a broken relationship can have on two people. A personification of the stages of grief one feels when growing apart from someone they love, for reasons they can't seem to reckon with or comprehend.'' Working from his East Village apartment, Indentations is a rich amalgam of intricately layered found sounds, almost all of which were found on YouTube, taking in influences that range from ASMR to acapella choral performance. The effect is dizzying in its depth and scope. Chapman has created a boundless emotional musical journey that can feel both deeply intimate and cosmically vast."

"While the acoustic environment and urban soundscapes shape our everyday life, architecture practice usually neglects the experience of acoustic space in its design process. My research addressed the challenge of integrating spatial acoustics and the experience of environmental sound in architecture practice. Drawing from acoustic ecology, creative approaches embody the aural experience of the environment into the design process of architecture. "

"An immersive marvel of sonic ethnography, Expedition Content draws on audio recordings made by recent college graduate and Standard Oil heir Michael Rockefeller as part of the 1961 Harvard-Peabody Expedition to Netherlands New Guinea that set up tents among the indigenous Hubula (also known as Dani) people. "

"Two women who switched continents get to know each other through the data they draw and send across the pond"

"Ultra-red pursue a fragile but dynamic exchange between art and political organising. Through the performance of a militant sound investigation, the audio collective map contested spaces and histories as an articulation of social relations. Drawing on the formal strategies of early Conceptualism, We Come from Your Future facilitates a particular kind of discursive action whose performance of announcing and denouncing constitute an intervention. We Come from Your Future is comprised of two episodes in which Ultra-red ask, "What are the sounds of anti-racism?" Posing this question in the context of anti-racist and migrant organizing in the UK, the first episode features a set of dispatches that combine audio compositions with accompanying field reports. These online dispatches lead up to and inform an on-site event as part of the Triennial Prologues: Altermodern at Tate Britain on June 28. "

"This paper would like to draw your attention to a matter that regards us all, every day: the sound of the urban environment. We are used to looking around us, we are less used to listening to what happens around us. And yet, the noises we produce reveal our way of life, and learning to master them is a necessity."

Tuned City is a platform which proposes an examination of the relations between architecture and sound. This ongoing project draws the traditions of critical discussion about urban space within architecture and urban planning discourse - as well as its strategies and working methods - into the context of sound art. This expanded discussion reinforces the potential of the spatial and communicative properties of sound as a tool and means of urban practice. Tuned City continues as a platform, exploring other cities and locations with their own cultural and social settings, working theoretically and practically on the question how sound and architecture are related.

"Soundwalk Editions features artists and composers who use environmental field recordings as a point of departure in their work. By recording sounds outside of the conventional studio you are in the act field recording, audibly engaged with ears that gradually refine a sonic experience, like the eye looking through a camera lens. Field recording is often synonymous with phonography, in which sound takes the place of image in documenting a location, physical act, or a natural occurrence. Drawing attention to the quality and experiential nature that can exist in the soundscapes of our environment, these works allow the viewer to have an intimate experience with the various compositional approaches practiced by each individual artist. Through listening to these recordings we have the opportunity to become aware of the various dialects that can exist in the language of field recording compositions."

"Cube with Magic Ribbons is a computer visual and synthesised sound composition for live performance. The piece takes its title from a drawing of M.C.Escher which is rich with contradictory perspectives but it is also inspired by the wrapped spaces found in the two dimensional graphics of early computer games such as Asteroids and Pac-Man. It was created using a custom visual sequencer SoundCircuit, which rather than employing a conventional DAW layout, allows multiple virtual tape-heads to travel through a two-dimensional wrapped space along tracks that can be freely inter-connected. As the tape-heads travel through the resultant network, the topological layout of the tracks comes to directly influence the macro form of the music. Furthermore, as the piece unfolds the nature of this already confusing space reveals itself to be increasingly elastic and complex, yet inexorably intertwined with the musical form."

"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)."

"The history of field recording is central to the development of electronic music, with artists - from Eno through Scanner to Burial - drawing on its theories and strategies to create distinctive soundworlds. Lawrence English - boss of the long-running Room40 imprint, and the man behind this year's exceptional Wilderness of Mirrors - presents this beginner's guide to the discipline, including a rundown of crucial recent releases. "

"Three custom guitars, a gong, maracas shaped like large closed fists, and a series of drum-heads ornated with his classic hand and slogans like 'LOOK AT THIS' and "PLEASE WAIT" The gong states the self-explaining text 'GONG'. While crafted with a luthier's precision, the artist's mischievous design-guitars with one string, some fretless-results in unexpected sounds. The black-and-white guitars are connected to small amplifiers. Alongside the instruments, Shrigley will also present a new series of black and white drawings."

In February 2016, U.S.-based astronomers announced that they had detected gravitational waves, vibrations in the substance of space-time. When they made the detection public, they translated the signal into sound, a "chirp," a sound wave swooping up in frequency, indexing, scientists said, the collision of two black holes 1.3 billion years ago. Drawing on interviews with gravitational-wave scientists at MIT and interpreting popular representations of this cosmic audio, I ask after these scientists' acoustemology-that is, what the anthropologist of sound Steven Feld would call their "sonic way of knowing and being." Some scientists suggest that interpreting gravitational-wave sounds requires them to develop a "vocabulary," a trained judgment about how to listen to the impress of interstellar vibration on the medium of the detector. Gravitational-wave detection sounds, I argue, are thus articulations of theories with models and of models with instrumental captures of the cosmically nonhuman. Such articulations, based on mathematical and technological formalisms-Einstein's equations, interferometric observatories, and sound files-operate alongside less fully disciplined collections of acoustic, auditory, and even musical metaphors, which I call informalisms. Those informalisms then bounce back on the original articulations, leading to rhetorical reverb, in which articulations-amplified through analogies, similes, and metaphors-become difficult to fully isolate from the rhetorical reflections they generate. Filtering analysis through a number of accompanying sound files, this article contributes to the anthropology of listening, positing that scientific audition often operates by listening through technologies that have been tuned to render theories and their accompanying formalisms both materially explicit and interpretively resonant.

"Gordon Hempton is the type of person who gets into something and doesn't let it go. As an acoustic ecologist, most of his obsessions are sounds. Specifically, natural ones. Hempton's been on a crusade for years to highlight the sonic beauty of the natural world, and draw attention to the fact that we're slowly letting that beauty disappear in a sea of noise pollution. Along the way, he picked up a mentor who has helped inspire him and open his ears to nature: naturalist Jon Muir. Though he's been dead for more than 103 years, Muir has helped guide Hempton, who has walked in his steps literally and figuratively."

Vibrations conducted through a person's bones produce the uncanny sensation of low sounds emanating from within the body. The New York-based artist Sergei Tcherepnin draws on this effect in Stereo Classroom Chairs (2015), mounting a transducer to the underside of each wooden seat on which visitors are invited to sit. When not attached, a transducer plays sounds quietly, at a level that is almost inaudible. When its surface touches another object, however, the material characteristics of that object filter the sounds in various ways. Here, Tcherepnin's audio composition travels through the body of each sitter with a physical intensity. The chair amplifies the composition, while the sitter acts as the filter, amplifying low-frequency sounds and muffling higher frequencies.

" Sonic Cyberfeminisms is an ongoing project by a collective of artists, musicians and writers, which draws upon intersectional feminist praxis and the legacies of cyberfeminism. The project aims to foreground agendas of social justice in the domains of sound, gender and technology and, in doing so, develop critical cultural work. The project was initiated by Annie Goh and Marie Thompson. Current Sonic Cyberfeminisms participants include Robin Buckley, Marlo De Lara, Jane Frances Dunlop, Natalie Hyacinth, Miranda Iossifidis, Louise Lawlor, Frances Morgan and Shanti Suki Osman. "