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"The ElectroAcoustic Resource Site (EARS) project has been established to provide resources for those wishing to conduct research in the area of electroacoustic music studies. EARS will take the form of a structured Internet portal supported by extensive bibliographical tools. To aid the greater understanding of the opportunities offered by these radical forms of sound organisation, as well as their cultural impact, the project will cite (or link directly to) texts, titles, abstracts, images, audio and audio-visual files, and other relevant formats. "

Article featuring Kevin Beasley, Nikita Gale and Christine Sun Kim. "SOUND DOES NOT EXIST IN A VACUUM-it requires a medium through which to propagate. Innovations in electroacoustics have worked to partition and privatize the sonic realm, separating voices and music from their host bodies and feeding them cleanly to the ear via high-fidelity speakers, noise-canceling headphones, and other means. But sound represents only one facet of a listening experience."

Podcasts surveying the history of sound collage since the begining. The program mentions three types of sound collages. Sequential sound collage that uses an editing technique that is not dissimilar to film editing technique which later developed to Electroacoustic and Acousmatic music. (most Musique Concréte, cut ups, Negativland, Cassetteboy etc) Sound collage that augments a particular rhythm, musical and narrative theme (some hip hop, bastard pop, 2manyDJs, dancefloor mash ups, most music that has elements of sound collage) Simultaneous sound collage which superimposes layers of different musical sources over each other. The last category is the one this podcast focuses on for the latter half of the 20th Century until today. Warning:: PART ONE is a bit more of a difficult listen due to the experimental and conceptual nature of the sound collages in the early days."

The Sonic Art Research Unit provides a forum for dialogue between the fields of Composition and Sound Art; including acousmatic, collaborative, electroacoustic, experimental, interdisciplinary and site-specific practices alongside engagement with field recording, and soundscape studies. The Sonic Art Research Unit builds on established creative dialogue between the fields of Fine Art and Music at Oxford Brookes University.

When a plant reacts to a butterfly larvae feeding on its leaves, it releases chemical substances, or compounds. The characteristics of these compounds have been analyzed in collaboration with the Ecological Chemistry Research Group at the Royal Institute of Technology in Stockholm, and then transposed into amplitude and intensity of sinus tones, recorded at EMS (Electroacoustic Music in Sweden), Stockholm. Thus these beautiful graphic score and soundtrack by Swedish artist Christine Ödlund are direct transpositions of "the plant's life, struggle and death"."

"As museums continue to search for new ways to attract visitors, recent trends within museum practice have focused on providing audiences with multisensory experiences. Books such as 2014's The Multisensory Museum present preliminary strategies by which museums might help visitors engage with collections using senses beyond the visual. In this article, an overview of the multisensory roots of museum display and an exploration of the shifting definition of 'object' leads to a discussion of Pierre Schaeffer's musical term objet sonore - the 'sound object', which has traditionally stood for recorded sounds on magnetic tape used as source material for electroacoustic musical composition. A problematic term within sound studies, this article proposes a revised definition of 'sound object', shifting it from experimental music into the realm of the author's own experimental curatorial practice of establishing The Museum of Portable Sound, an institution dedicated to the collection and display of sounds as cultural objects. Utilising Brian Kane's critique of Schaeffer, Christoph Cox and Casey O'Callaghan's thoughts on sonic materialism, Dan Novak and Matt Sakakeeny's anthropological approach to sound theory, and art historian Alexander Nagel's thoughts on the origins of art forgery, this article presents a new working definition of the sound object as a museological (rather than a musical) concept."

"Sounds of Seismic (SOS) is an art-science, auditory display software system broadcasting continuous seismic sound generated from realtime collected global earthquake data. An internet audio streaming service, SOS webcasts electroacoustic music as multi-channel seismic generated sounds creating an infinite computational earth system soundscape! "

"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)."

"Fure, a composer and sonic artist whose works often involve the live modification of prerecorded electroacoustic tracks, unleashed an hour-long storm of sound, incorporating extremely low bass frequencies that began below the range of human hearing and slid upward to a barely perceptible 30 Hz. For a few minutes, I stood in front of a tower of speakers, having taken the precaution of inserting earplugs, and had a purely visceral encounter with sound-one that gave me the unsettling and liberating sensation of being no longer material in my own body."

"There is a long line of theories claiming that we have reached the end of art, but they are forgetting something, writes Joanna Demers"

Opening track for this album that uses sounds of oceans around the world as its primary sound source

"Headphones are the norm. The new addiction replacing smoking, headphones frame the head and the perception of most urbanites today in some form or other. Whether commuting with an iPod, exercising to the radio, talking on a hands-free cellphone… or actually listening to music, headphones create a mobile and continually changing architecture that follows the listener, wrapping them in a private bubble. As the world rapidly interfaces, overlaps and confronts the boundaries of Private and Public through technologies and legislation, headphones become a quiet and invisible site of investigation. The audio tracks in this collection attempt to define a body of work that is fundamentally connected to the phenomenon of headphone listening. Some work was made specifically for headphones such as Bernhard Leitner or Janet Cardiff, other work was not originally composed for headphones, but when played over headphones a unique experience of the work is created-sometimes against the original intention of the artist or at least as a surprising by-product. While the most common thread between the works is the unique spatialisation of headphones, other attributes of headphone listening-such as intimacy and privacy-are also explored and included. "