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"Sound, as a modality of emotion, is central to the everyday constitution of space. For an increasing population in Canada, however, incarceration forms the basis of everyday life. This paper explores the connections between sound and emotion as they play out in the under-researched context of prisons. I use a participant's term, "feeling the range," to identify the atmospheric, haptic, and emotive potential of sound as a vital tool of spatial knowledge. "

"Psycho-Acoustics: Sound Control, Emotional Control, and Sonic Warfare" explores the work of former Stevens professor Harold Burris-Meyer whose research in the mid-twentieth century investigated the use of sound as a tool for emotional and physiological control and played a critical role in the emerging fields of sound design for theater, music for industry, and applied psychoacoustics for warfare."

"Sound plays an influential part in how we view the world. It gives us social cues and evokes certain emotions, such as a dog barking might instill fear or a baby laughing can cause happiness. "

"Julianne Swartz's work is rooted in emotion, vulnerability, and the provocation to recognize and connect to one another as feeling human beings. Over the years Swartz has returned again and again to using the human voice, recording singers both professional and amateur to create moving works that embrace visitors with sound and emotion."

Welcome to the Music Sensors & Emotion website. We are a research group based in the Sonic Art Research Centre (SARC) at Queen's University Belfast. The Music, Sensors and Emotion (MuSE) research group is a multidisciplinary team focused on both qualitati

"For those familiar with modern media, there are a number of short musical phrases that immediately trigger a particular emotional response. Think, for example, of the two-note theme that denotes the shark in Jaws, and see if you become just a little more tense or nervous. So too with the stabbing shriek of the violins from Psycho, or even the whirling four-note theme from The Twilight Zone. In each of these cases, the musical theme is short, memorable, and unalterably linked to one specific feeling: fear. The first few notes of the "Dies Irae" chant, perhaps as recognizable as any of the other themes I mentioned already, are often used to provoke that same emotion."

"Sound is capable of producing powerful reactions in the listener - whether it's a sudden cold sweat caused by a snake's warning hiss, or the uncontrollable grin as a favourite song from our youth comes on the radio. Scholars have been fascinated by the relationship between sound and emotional states since at least the time of the Ancient Greeks (whose wild Dionysian parties could be seen as the equivalent of a modern-day rave!), and modern neuroscience has led to some fascinating advances in our understanding of why our ears and emotions have such a strong bond."

Urban sound has a huge influence over how we perceive places. Yet, city planning is concerned mainly with noise, simply because annoying sounds come to the attention of city officials in the form of complaints, while general urban sounds cannot be easily captured at city scale. To capture both unpleasant and pleasant sounds, we propose a new methodology that relies on tagging information of georeferenced pictures. We propose the first urban sound dictionary and compare it to the one produced by collating insights from the literature: ours is experimentally more valid (if correlated with official noise pollution levels) and offers wider geographic coverage. From picture tags, we then study the relationship between soundscapes and emotions. We learn that streets with music sounds are associated with strong emotions of joy or sadness, while those with human sounds are associated with joy or surprise. Finally, we study the relationship between soundscapes and people's perceptions and, in so doing, we are able to map which areas are chaotic, monotonous, calm, and exciting.Those insights promise to inform the creation of restorative experiences in our increasingly urbanized world.

"We've all experienced it, whether we think of ourselves as olfactory aficionados or not: flashbacks and recollections triggered by perfume. Scent can literally manipulate emotions by sending signals to our hippocampus, the part of the brain that guards the pathways to the different elements that make up a memory. These memories intertwine with smells, conjuring up the past like a visceral film reel."

"KIMA: Noise by Analema Group explores how urban noises affect our physical, mental and emotional wellbeing.  Following an activity at Tate Exchange with noise expert Prof. Stephen Stansfeld, community groups such as Better Bankside, residents, and researchers in the field of urban noise, we invite you to the premiere of the art film KIMA: Noise. Participants will explore the topic of noise pollution, the effects of noise on human health and wellbeing, through the film and in an online workshop with the artists and experts. KIMA: Noise raises awareness about noise and asks important questions on what we can do to mitigate its effects on health www.analemagroup.com ​"

"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."

The project set out to give a rich and rigorous account of human perception of and response to soundscapes. To do this it used overlapping methods from a wide range of disciplines, ranging from the quantitative (e.g. acoustics) to the qualitative (e.g. social science) to the creative (e.g. sound art). Qualitative fieldwork (soundwalks and focus groups) determined that people conceptualised a soundscape into three components: sound sources (e.g. a market), sound descriptors (e.g. rumbling) and soundscape descriptors (e.g. hubbub). Lab-based listening tests along with the fieldwork have revealed that two key dimensions of the emotional response to a soundscape are calmness and vibrancy. In the lab these factors explain nearly 80% of the variance in listener response. Interview responses from real soundscapes further indicate that vibrancy can be expressed in two sub-dimensions expressing variation over time and over sound mix. Physiological validation of the main dimensions is provided by images of changes in the brain during listening from fMRI scans and by changes in heart rate. Artistic work and the public responses to it illustrate the huge range of sounds and soundscapes considered positive. Tools for simulating soundscapes have been developed and seem to be effective for several purposes, including design and public engagement - that is, sound play. The project results will lead to new metrics and assessment methods for soundscapes, new ideas for design and user engagement and, perhaps, better policy on environmental noise.

Page by Peter Elsea (UCLA ELECTRONIC MUSIC STUDIOS) "The notion of sound is rather remarkable. Something happens there and we know it here, even if we are looking the other way, not paying attention, or even asleep. The fact that some sounds can produce physical and emotional effects is just short of astounding. These notes will perhaps remove some of the mystery associated with sound and hearing, but probably none of the wonder. "

Swartz also invites gallery visitors to handle, listen and look - often in unconventional museum spaces. More subtly, her work employs them as spectators of interactivity, a less considered version of participation, yet one often crucial to the complete experience of some of her sculptures. These modes of interactivity combine with Swartz's skillful transformation of simple, industrial materials to engage viewers with their own emotional history as well as the formal traditions of participatory art... - Rachel Arauz

"The last two decades have seen a striking decline in the quality of sound and listening experience. Compressed music, MP3s and streaming, have diminished the quality and flattened the emotion. Marketing gimmicks and convenience now take the place of excellence. The Distortion of Sound is an eye-opening exposé of the current state of sound starring Linkin Park, Slash, Quincy Jones and more. This documentary will open your ears and inspire you to reach for richer, more soul-stirring musical experiences. "

"Harvest Works gallery in New York exhibited an installation by audiovisual artist, Claudia Robles, that gets under your skin... literally. SKIN is a project that measures gallery visitors' skin moisture using a GSR (Galvanic Skin Response) interface and transforms that data into sound and images. Psychological states such as stress, nervousness, and even arousal become observable, external information. Be careful who you test it out around. "

"In what we do, sounds don't just happen to exist with an 'in-built' and 'necessary' essence; they don't just have an "in-itself" by default. And even if, from time to time, there could still be a trace of the source that could have produced such sound, it is but one of the many possibilities of what a sound event or a sound object [2] may potentially be or become to us: A sound is, in our hands and in our films, the thing, not in-itself but as it makes itself manifest to the listener"

"Even if you're aware that glaciers are melting and sea levels are climbing, these facts can be difficult to connect with on an emotional level. A sound artist at the University of Virginia is hoping to change that by turning scientific data into music, and, well, the result is pretty damn cool."

"According to a common assumption, scientific practice is based primarily on a rational approach. Science stands for logic and clarity, while art is considered to be more chaotic, emotional, sometimes even irrational and therefore often less understandable. Voegelin shows us that it is not at all necessary to look at one from the other, but that the opportunities lie in the connection to discover and enable listening"

"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."