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"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. "

""The Ears Between Worlds Are Always Speaking is a long-form, 2 channel hyper-directional 4 act opera projected upon the ancient ruins of Aristotle's Lyceum. For this work there is no physical intervention onto the site, with the exception of sound produced by 2 LRADs - LONG RANGE ACOUSTIC DEVICES - that are mounted on rooftops around the campus periphery. At the installation, audiences experience a shifting call and response hyper-directionality of sound when walking around the ruins of the school. The Lyceum, situated between the Athens War Museum, Hellenic Armed Forces Officer's Club, and Athens Conservatory of music, offers a rich environment for engaging oral tradition, contemporary and ancient history, as well as a sense of embodied learning."

"In this edition of Fusion Journal we wish to explore the act of listening to the land, to others, to difference, as encountered in embodied and virtual spaces. We especially encouraged contributions that represent creative practice as well as more traditional text-based articles. How might we attempt to interpret what is being said in languages we do not understand? How might we resist - even if just for a moment - adding our own sounds to the noises of the neoliberal project of the anthropocene: the clashing music of the shopping mall, the automated voice, the shock jock, the celebrity, the power tools, the leaf blowers, the bulldozers, the mining blasts. How might we listen out, or tune in, to the small, the subtle, the unnoticed, the dying, the unusual, the banal, the mad, the unexpected?"

"Stereomodernism" addresses the life, struggle, triumphs, and deaths of African Americans from 1619 to the present. The mix reinstates the original framing of techno as embodied aural history-and does so from a Black theoretical perspective, as a direct foil to Rainald Goetz's 1998 novel Rave.

"Sculpture-situated within the sensibilities of space, embodiment, and the physical world-offers a richly speculative arena for experimentation with materials and technology. The continuing expansion of practices reminds us that sculpture no longer resides in a world of "things": contemporary physics now reformulates "solid" matter as process and flow, foundational concepts for art are now redefined or dismantled, and virtuality often stands in for the "real." The implementation of sound created by artists as sculpture has contributed robust tools and a new sense of identity for these changing boundaries. Yet while sound has become almost ubiquitous in contemporary art, it has garnered scant scholarship, and its artists are often neglected. "

soundartist (1999, Spain) Currently based in Utrecht For me, creating a work always begins with sound research. In my concerts and installations, I explore the boundaries of the concept music using my own made instruments and extended techniques. To perceive sound, you need a source that vibrates (moves) the air and someone who can perceive those vibrations: "Sound is movement". As an artist I communicate with sound waves, with movement. Everything that sounds in my work is "aLive": lively, playful and produced in the moment.

"For Alexiou, the immersive listening debate is easily put to rest. "Humans can hear down to roughly 20Hz. If you look at the frequency response of many headphones and some speakers, they often rate their range somewhere close to that. The reality, however, is, you can rarely have the power and privacy to be able to drive them appropriately. In the case of headphones, sound is only hitting your ears, not your body, something any sound system enthusiast knows the limitations of all too well. It's the feeling that matters.""

"Composer, performer, and sound artist Miya Masaoka considers the vagina to be the "third ear," a site for new ways of listening and perceiving. "

"Sonification is the representation of data with sound and Auditory Display is the use of audio to present information to a listener. In certain contexts and for certain types of data sound can be an effective means of representation and communication. "

"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."

"This talk will consider the notion of sonic possible worlds in relation to the body. I will discuss the body as material and fleshly body, as human and more than human form, whose sonic possibilities ruptures norms and expectations through invisible permutations, silences and screams. Thus, I will sound and articulate a body in trans-formation, ephemeral and porous; questioning of individuation and the boundary of the skin. And hope to hear the unrecognizable body, at the margins of the representational frame and at the brink of viability, to engage in how its sonic possibility challenges who we count as real, and how we hear their actuality: the norms and naturalizations that give us the recognizable body and its name."