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Synopsis: this bitter-sweet comedy tells the story of a man who suffers from hyper-acoustic sensitivity, which makes his life in Tel Aviv, one of the noisiest urban locations on earth, a living hell. His quest to live in peace and quiet by politely asking neighbors for basic consideration, or by addressing the boisterous passing-by to re-consider the mere fact they are 'not alone in the world', or even by trying to plea to the authorities: Police and Municipality - or even worse: talking the law into his own hands: all means have proved nothing but his bitter impotency in the face of the irrepressible Israeli "noise-mania". So he decides to act. He constructs a special surveillance apparatus in order to monitor and control the invading street-neighbor-noise, and with the help of a "God-like" megaphone he takes control over the intruding street noise. His fantasy to silence also the noise within his own family life, turns co-existence with him unbearable. It doesn't take long before it becomes inevitable that he would have to pay the price.

"The design, for a house on a generic suburban lot, mixes sound on two levels. First, "sonic windows," embedded with microphones and tiny cameras, capture images and sounds from outside the house and broadcast them inside. Second, the house encourages family members to mix, layer, and juxtapose pre-recorded sounds with those collected from outside. Think bluebirds chirping along with Beyonce, or the postman slamming the mailbox shut at a climactic moment in a Beethoven symphony."

"A tapping machine used in tests to evaluate the ability of floor coverings to reduce the transmission of impact sound from one floor to another in multi-family dwellings." Courtesy of the National Research Council Canada/Conseil national de recherches Canada."

"Dean Shostak is one of last true masters capable of playing the glass armonica - an enchanting instrument lost to time. First devised in 1761 by Benjamin Franklin, the art of "playing glass" began to fade in popularity as musical fashions changed. Today, there are only eight glass armonica players left in the world. Along with the revival of the armonica, Shostak is also reintroducing an entire family of glass instruments, including the glass violin, the crystal hand bells and the French Cristal baschet."

"arrangements of performative objects, Acoustic Sound Blankets, are embroidered with patterns that have been in Khan's family for generations. Women archive and embroider these artifacts when one is born, married, or passing. Holes are cut out to appear like the patterns on holy books. In previous performances for the camera, Khan has invited people to share intimacies, seek safety underneath these blankets concealing, like the veil. Since recent protests, it has become a common activity to meet in groups to make protest banners and, in many instances, holes are cut out of fabric to allow protesters to wear messages in lieu of holding signs. Khan has since received emails from activists requesting acoustic blankets to protect themselves from sound waves from military shock bombs used to break up crowds."

Black Quantum Futurism (BQF) is a new approach to living and experiencing reality by way of the manipulation of space-time in order to see into possible futures, and/or collapse space-time into a desired future in order to bring about that future's reality. This vision and practice derives its facets, tenets, and qualities from quantum physics and Black/African cultural traditions of consciousness, time, and space. Under a BQF intersectional time orientation, the past and future are not cut off from the present - both dimensions have influence over the whole of our lives, who we are and who we become at any particular point in space-time. Through various writing, music, film, visual art, and creative research projects, BQF Collective also explores personal, cultural, familial, and communal cycles of experience, and solutions for transforming negative cycles into positive ones using artistic and wholistic methods of healing. Our work focuses on recovery, collection, and preservation of communal memories, histories, and stories.

"Ears are a peculiarly individual piece of anatomy. Those little fleshy seashells, whether they stick out or hang low, can be instantly recognizable in family portraits. And they aren't just for show. Researchers have discovered that filling in an external part of the ear with a small piece of silicone drastically changes people's ability to tell whether a sound came from above or below. But given time, the scientists show in a paper published Monday in the Journal of Neuroscience, the brain adjusts to the new shape, regaining the ability to pinpoint sounds with almost the same accuracy as before."

"Ears are a peculiarly individual piece of anatomy. Those little fleshy seashells, whether they stick out or hang low, can be instantly recognizable in family portraits. And they aren't just for show."

"Years ago I unearthed a case full of cassettes in my parents closet. I'd been saving a certain one for the right time. A recorded letter, "To Ron" written on the label. It would have been sent to my father in Costa Rica from his family in Ohio. Upon pressing play I hear who I think is my grandmother as the initial hiss of the tape settles and soon the voice of my young uncle. My Mother and Father met while they were both serving as Mennonite missionaries in Costa Rica during the 1970s. He sang love songs outside her window. He rode an old Yamaha motorcycle up through Central America. He loved to tell those stories. While on my third stay in the psychiatric hospital I started sketching out a short piece. The new season of Twin Peaks was airing at the time and the adult unit I was housed in is known as "Lodge". It was during my fourth and most recent stay that my father fell ill and passed away. I experienced his last days through second-hand phone calls in my own hospital room miles apart. Such a physical disconnect and heightened reality complicates my ability to grieve. I returned home and had to finish the piece. The sample finally had a purpose."

"framework began broadcasting in june, 2002 on the newly reformed resonance 104.4fm in london. the show now airs on twelve radio stations around the world, with regular new additions to its broadcast family, and streams and podcasts here on its own website. framework is consecrated to field recording and its use in composition, and began broadcasting at a time when a new community of sound artists with a special interest in found sound was developing, a community spread across the globe that, thanks to the internet, was no longer limited to a specific geography. framework sees itself as an outlet for this ever-growing and developing community, a folk-tool in a new folk movement, a community driven exchange point for creators and listeners alike. framework's goal is to present not only the extremely diverse sound environments of our world, but also the extremely diverse work that is being produced by the artists who choose to use these environments as their sonic sources. we hope to ask this question: is 'field recording' a style, or a genre, or is it in fact as uncontrollable and undefinable an instrument or tool as any, that may be interpreted, manipulated, and appropriated by anyone with a microphone and an idea? these works are its definition, and not vice versa. "

This is an article about wind, dust, and their relations to life. It is a meditation on the liveliness of wind and airborne particles as they are experienced on the ground; in cultural texts including film, poetry, and oral history; and in the medium of satellite imagery. In dialogue with recent work in the social sciences and humanities that demonstrates how air and dust from the "South" are treated as foreign "intrusions" into Europe, this article proposes a focus on wind's animacies to further probe and nuance these claims. Situated primarily in Italy and the Balkans, two places where the author has familial relations and, in the case of the Balkans, deep ancestral history, the animacies of wind are examined specifically in relation to Scirocco and Jugo, two interrelated southerly winds commonly blowing in spring and autumn that sometimes bring "Saharan dust" to Europe. As a framework and scaffold, the article draws from Mel Chen's notion of "differential animacies": the ways animacy is bestowed on humans, animals, elements, and objects in hierarchies that are both revealing and "leaky." Exploring the animacies of Scirocco and Jugo shows how the wind acts as a force of de/humanization, as agency leaking across borders of life and nonlife, and as shape-shifting coauthor of collective memory.

A piece made from the last answer phone message from his mother In law which he saved after her death.

"Noise is the top quality-of-life complaint to 311, and those complaints are on the rise. But our relationship with noise is very complicated, with lots of advantages, too. What noises drive you crazy, calm you down, damage your hearing or peace of mind, help you create? Callers sound off on noise and we hear from guests, including environmental psychologist Arline Bronzaft, acoustics consultant Alan Fierstein, sound historians Emily Thompson and David Hendy, and hearing specialist Eric Smouha."