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Kathryn Walter is a Canadian artist who maintains a studio practice that intersects visual art, design and material culture. She operates the FELT studio as a laboratory to explore modern industrial felt through exhibitions, historical research, architectural commissions and a product line. Influenced by her background in sculpture, Walter has created a body of work ranging from intimate artworks to large-scale installations. She has collaborated with architects and created felt walls for residential, institutional and commercial sites including Google (Montreal), Red Bull (Toronto), The Museum of Tolerance (Los Angeles); and CUNY Law School and The New School (New York). Walter has shown her work in exhibitions at the Royal Ontario Museum (Toronto) and the Cooper Hewitt Nation Design Museum (New York). She received a BFA from Emily Carr College of Art and Design (Vancouver) and an MFA from Concordia University (Montreal). She lives and works in Toronto. www.feltstudio.com

"As someone whose entry point into the vast world of musical repertoire has mostly been through collecting records and since the most unusual and unique things are usually the hardest ones to hear live, Maryanne Amacher has always been something of an enigma to me. A composer of vast, space-specific sonic panoramas at crushingly loud volumes, Amacher defies containment and commodification. When Tzadik finally released a CD of her music, I finally thought I was able to experience it. But actually, I hadn't. Two speakers can't really convey what she is doing in space and as an apartment dweller the kinds of volumes she demands would inevitably lead to an eviction. Yet through listening and reading her essays on various subjects, especially her fascinating contribution to a panel on Cage's influence where she spoke about creating a music that is somehow liberated from time, I felt compelled to talk to her. We spent only about an hour in conversation-the unfortunate time constraints of a reality based on schedules-but it felt like it could have gone on forever. And, in some ways, it will…"

"I am hard of hearing as well as an electronic music enthusiast. I have always been an observer and I have always seen that my companions' reactions to the music we listen to together are different from mine. I tried with all my might to feel what they felt - with poor results. Which made me sad and irritated. Would I never be able to fully appreciate the aesthetics of sound? Eventually, I began to look more deeply into my experiences."

"Audible Inaudible is a term keyed by ethnomusicologist Martin J Daughtry where the violent sounds of war become muted by its auditors as a mechanism for survival. I have multiple memories that involve the terrifying sound of the air raid siren so I started the research in how to translate a sonic memory into object. This lead me to Martin's a book titled "Listening to War, Sound, Music and Survival in Wartime Iraq" where he describes an interview with a mother shielding her children from the violent sounds of war by holding them tight and pressing her arms against their ears. Her body, her flesh then acted as a perfect, natural micro environment to protect her children. I wanted to mimic this concept of "flesh as defense" so I introduced pyramid acoustic foam in the paintings; a material that "detains" sound. I started surgically cutting my linen and pushing the foam through it from the back. As it was penetrating the surface I felt as if I was conducting an operation of resistance. These calculated cuts and wounds were enabling the painting to breathe. Inhaling and exhaling it was reacting, resisting, defending and accepting these sonic wounds."

"This paper will explore how the practice of soundwalking can be a tool for memory retrieval. I ask: How are memories created and remembered in the mind and felt within the body? What happens to our perception of self, home, and knowing as we move through spaces and places of significance?"

"This paper will explore how the practice of soundwalking can be a tool for memory retrieval. I ask: How are memories created and remembered in the mind and felt within the body? What happens to our perception of self, home, and knowing as we move through spaces and places of significance? "

"For Landscape / Soundscape at the University of Pennsylvania's Arthur Ross Gallery, 10 sound artists were commissioned to create soundscapes responding to ten landscape photographs in the university's art collection. "I spent a lot of time just meditating on the photographic images, and I began yearning to hear some sort of sonic interpretation of the imagery," co-curator Heather Gibson Moqtaderi, who is associate curator and collections manager at Penn's University Art Collection, told Hyperallergic. "I felt that a balanced experience between sight and sound would most effectively convey this idea.""

"The following is writing from an earlier time in my recent research project, Wayback Sound Machine: Sound through time, space, and place. It felt an appropriate beginning to share here as the first part of the ongoing series, "Wayback Sound Machine- a constellation of sounding time", that will be exploring various works and writings approaching the concept of sound back through time. I will be publishing the call for work shortly, and hope to hear from some of you Sonic Field readers. "

"The artists who contributed to this final chapter of YCTM examine the sonic response-ability of the world that struggles to free itself of humanity. Starting with memories and dreams intercepted by sound in film and moving towards the felt effects of climate change and extinction, the chapter holds space for an empathic future where human-centred civilities become holistic code. This chapter is co-presented with Infrasonica and with Kunsthall Trondheim."

"Radio can be a familiar friend, source of knowledge, a marker of time and place. But as a cultural institution, what constitutes a "good voice" in radio reflects and transmits cultural norms and structures. When I started my Community Storytelling Radio Fellowship at Making Contact, I prepared by reading articles from Transom and AIR media about interviewing, storytelling, and production. I felt more intimidated as I read about advice on 'how to do radio,' especially since some parts were very physical (e.g., holding a microphone close to a person for a significant length of time). I wondered, "Where do disabled people like me fit in the radio community? Why don't articles about diversity in radio ever mention people with disabilities?" Al Letson's 2015 Transom manifesto explores the the default straight white male voice. It resonated with me immediately and I'd also add that the "default human being" on radio is able-bodied as well."

"Volcanic Drift presents the subteranean sounds of Yellowstone's super caldera, lathed into vinyl records, and played back through a pair of custom built subwoofers. Because a portion of this audio extends below the range of human hearing (the infrasonic), these recordings are felt as well as heard. To prevent the records from skipping, the turntable is mounted on a vibration dampening seismically stabalized pedestal designed to absorbe the architectural resonance."

"In this article we look at how bass is felt rather than heard, and, after reviewing some of the research that has been done in this area, we investigate the points at which low frequencies go beyond sound and become a tactile sensation in an experiment of our own."

"In 2006, the authors initiated the Landscape & Perception (L&P) project under the aegis of the Royal College of Art (RCA), London. The project is a pilot study of raw visual and acoustic elements mainly on and around the Carn Menyn ridge, Mynydd Preseli, south-west Wales, the source area of some of the Stonehenge bluestones, an area still relatively untouched by modern development. Sites in the surrounding Pembrokeshire countryside were also briefly visited. The project asked: "What might Stone Age eyes and ears have perceived in this landscape, and what aspects made it become important to the builders of Stonehenge?" The L&P project was primarily conceived to encourage a younger generation of audio-visual practitioners to use direct, natural sensory source material for their digital work, to offset the increasing overuse of disembodied digital sources. In the course of the fieldwork, it was felt that observations had been made that could perhaps be archaeologically relevant in a landscape that until very recently has been subjected to surprisingly little archaeological study. In July 2013, the fieldwork part of the project extended to acoustic tests of the bluestones in situ at Stonehenge. This paper is a preliminary report concerning selected, potential archaeology relevant aspects of the project's fieldwork to date."