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"They uploaded 10 tracks of silence to Spotify under the name Sleepify. Then, they put out this video, urging fans to stream the album on repeat while they slept. The band pledged to use the royalty revenue they racked up to fund a tour, where all shows would have free admission. And it worked."

"Space is the place. Again. And SoundCloud is now a place you can find sounds from the US government space agency, NASA. In addition to the requisite vocal clips ("Houston, we've had a problem" and "The Eagle has landed"), you get a lot more. There are rocket sounds, the chirps of satellites and equipment, lightning on Jupiter, interstellar plasma and radio emissions. And in one nod to humanity, and not just American humanity, there's the Soviet satellite Sputnik (among many projects that are international in nature)."

"The sounds of crickets courting and flies flying familiar to many of us, but have you heard a rice weevil larva eating inside a wheat kernel, a termite cutting a piece of wood, or a grub chewing on a root? Modern insect detection and control technology makes use of these subtle signals, sampled below. Most of the sound files on this page were selected from noise-free sections of recorded signal, but you can hear some typical background noises mixed with insect sounds at I below. The insect sounds have higher frequencies and shorter durations that make them relatively easy to separate from background."

"When applied to leafy greens, high-power ultrasound creates millions of tiny bubbles along a leaf's surface. As they burst at a rate of a thousand times a second, they provide high-energy shock waves that can get into the leaf's nooks and crannies to dislodge pathogens, which are then whisked away in the sanitized wash."

In November, Gillis and his label, Illegal Art, released the fifth Girl Talk album, "All Day," as a free download. Within 24 hours, several sites had posted annotations of "All Day," cataloging the samples on the album -there are 373 of them. Download traffic was so heavy that MTV News ran the headline "Girl Talk Apologizes for Breaking the Internet" - hyperbole, but not far from the truth. Illegal-art.net reports that "All Day" was downloaded so often that the servers crashed. In Girl Talk's honor, Pittsburgh declared Dec. 7, 2010, "Gregg Gillis Day."

"Open Space 2014" is an exhibition introducing works of media art and other forms of artistic expression born out of today's media environments, to a broad audience. Literally a beginner's guide to media art, the exhibition features leading works from the realm of media art, artworks incorporating cutting-edge technologies, works with a critical standpoint, and in addition, projects that are currently in progress at various research institutions. All of them are being displayed along with explanatory notes designed to help the visitor gain a better understanding, according to our aim to present media art in a fun and easily accessible way. Also on the schedule during the exhibition period are a number of related programs including talk sessions, lectures, symposia and workshops with artists and experts, as well as guided tours around the exhibits with explanations by the curatorial staff. A space that combines ICC's diverse functions, Open Space integrates galleries, a mini theater, and the video archive "HIVE." Since its launch in 2006, the exhibition has been held as an admission-free event with changing contents each year. Based on the mission of ICC, it aims to function as an open platform where possibilities of communication culture and art created with the help of advanced technologies can be presented to a large number of people.

"In their many (justified) laments about the trajectory of their profession in the digital age, songwriters and musicians regularly assert that music has been "devalued." Over the years they've pointed at two outstanding culprits. First, it was music piracy and the futility of "competing with free." More recently the focus has been on the seemingly miniscule payments songs generate when they're streamed on services such as Spotify or Apple Music."

"Public artworks don't often include life-sized balloons- but that hasn't stopped UK artists Alison Ballard and Mike Blow from creating them. POD is an interactive sound installation that allows viewers to experience the physical life of sound waves through the skins of two, six-foot-tall inflatable spheres. The surfaces of POD pulsate in rhythm with a sound file that plays from deep within the sphere. Audience members are invited to drape their faces and bodies over these surface, free to enjoy POD's gentle massage. "

"In Neerpelt, a small town in the very north of Belgium on the border with the Netherlands, there's the very unique Klankenbos (or Sound Forest). A public forest filled with sound art installations hidden between the trees, accessible to anyone for free any moment of the day. Something so unique, it's strange we've never written an article about it here on Everyday Listening. Time to make up for that."

"Invisible Places has published a PDF with the proceedings from 2017 edition of their conference. 678 pages of vast sonic explorations, edited by two experts in such deepness of the unseen: Raquel Castro & Miguel Carvalhais."

"From 1976 to 1982, Tony Conrad (1940-2016) created "Music and the Mind of the World," a piano composition comprising over 200 hours of recorded music. During this time everything Conrad played on the piano was recorded (with the incidental exception of perhaps three or four hours). In this endeavor - which includes the sounds of practicing, banging on the keys, formal exercises, experiments with the harmonic sonority of the piano itself, and even "On Top of Old Smokey" - we witness what might in essence be described as the total encounter between an improvising performer and the central instrument of Western musical culture. Now, for the first time, this influential yet largely unknown work has been published and is now available online for free at the domain musicandthemindofthe.world."

"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. "

"Cornelius Cardew was a fascinating figure. Both in his life, and through his music, he posed questions with which I find myself in equal sympathy and conflict. He is undeniably one of the most important figures in the Post-War British avant-garde. Cardew, by all accounts, was a prodigy. During his early twenties he worked at the highest levels of performance. In 1958 (age 22) he won a scholarship to study at the Studio for Electronic Music in Cologne, and was promptly asked by Karlheinz Stockhausen to serve as his assistant. Stockhausen's recollections of Cardew are drenched in respect. He was one of the few people whom he allowed to work on his scores unsupervised. During the late 50's, influenced by John Cage and other members of his generation, Cardew abandoned Serialism and began to compose scores utilizing indeterminacy and experiment. It was this period of his work for which he is most remembered, and from which Treatise (our subject) comes. In 1967 he joined the iconic free-improvisation collective AMM with Lou Gare, Eddie Prévost, Keith Rowe and Christopher Hobbs, which advanced his sense of compositional possibility. The following year with Howard Skempton and Michael Parsons he formed the equally important Scratch Orchestra, which grew into a large ensemble, preforming over the following four years."

"Sound maps are boring. Why? I would argue it's because they've become stuck in a rut that began when the idea of 'sound map' became synonymous with online, Google API-based or other forms of point-and-click, CD-ROM era interface design. If we want sound maps to become less boring, this needs to stop. But how do we as sound artists (or would-be 'sound cartographers') break free of the point-and-click model? "

"In case you haven't been tracking the progress of group exhibitions of sound art, a short history would be: they are generally a disaster, with many works either impossible to hear adequately in the situation or impossible not to hear while you are trying to listen to something else. "It is in sound's nature to be free and uncontrollable and to go through the cracks and to go places where it's not supposed to go," as the sound artist Christian Marclay said, in an interview, in 2005. Meanwhile, the institutions that are devoted to art exhibition-galleries, museums-are all about placing art works where they intend them to stay. "I think it's great that there is this interest in sound and music," Marclay said. "But the over-all art-world structures are not yet ready for that, because sound requires different technology and different architecture to be presented.""

"Research blog following the development of Sound Art through compositional and performative techniques in music, fine art, experimental film and creative computing. Each post is continually under development, and serves as a mapping of the author's listening habits and interests, please feel free to comment underneath with any thoughts or additions. If you own the copyright on any of the music/pictures/videos posted and do not want them to exist here, email the below address and they will be removed forthwith. "

Kate Donovan is a radio artist/practitioner, facilitator and researcher based in Berlin. Her artistic practice deals with radio in an elemental sense, in terms of frequency, transmission and interconnectedness. Her editorial and organizational work in free and community radio fosters inclusion, diversity, and experimentation. With questions of science-fact, the imagined, physical immersion and the "environment" in mind, her research (and in turn, her practice) is an exploration of radio as a natural phenomenon, an artistic medium, and a site for resistance.

"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."

MIT researchers have built a battery-free pinpointing system dubbed Underwater Backscatter Localization (UBL).

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