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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.

"Ultra-red pursue a fragile but dynamic exchange between art and political organising. Through the performance of a militant sound investigation, the audio collective map contested spaces and histories as an articulation of social relations. Drawing on the formal strategies of early Conceptualism, We Come from Your Future facilitates a particular kind of discursive action whose performance of announcing and denouncing constitute an intervention. We Come from Your Future is comprised of two episodes in which Ultra-red ask, "What are the sounds of anti-racism?" Posing this question in the context of anti-racist and migrant organizing in the UK, the first episode features a set of dispatches that combine audio compositions with accompanying field reports. These online dispatches lead up to and inform an on-site event as part of the Triennial Prologues: Altermodern at Tate Britain on June 28. "

We Come From Your Future is a sound investigation into the future of anti-racism in the UK. It asks how the public discourse on ethnicotherness, diversity, and multiculturalism may contribute to the very conditions of racism? How has the erasure of terms like anti-racism, racist violence, and justice from the official bureaucratic language actually worked to both conceal and foment new convergences of racial tension? How has the composition and re-composition of migration in the UK contributed to new lines of anti-racist experience and opened up to new fields of struggle? What are the obstacles for a re-constitution of an anti-racist movement?

"Fuzzy Logic is a speculative project that responds to noise pollution with music composition. Traffic noise is now the inorganic combination of individually designed sounds. A recent European law states that new models of electric and hybrid vehicles will have to make a noise by 2019: a great design opportunity! Exploiting the potential of current shifts towards electric transport, the project presents an alternative: noise itself becomes the object of design, and traffic is turned into a musical experience. Future e-cars are approached as speakers on wheels and rather than design the sound of single vehicles, we can compose the sound of traffic as a whole. Indian traffic epitomizes the future of noise, in increasingly overpopulated urban ares across Asia and Africa. The focus is on the iconic indian tuktuk. Each one plays an instrument as part of a system designed to be randomly harmonic and make musical sense as a whole - regardless individual tuktuks driving patterns. Traffic becomes a jam session, a kind of moving orchestra."

Fantastic Futures is a collaborative group of individuals from Iraq and the United States. Together, we've created this online platform for mixing and sharing of recorded sounds and stories across cultures. Our goal is to connect citizens from nations in conflict in an open dialogue based around the sharing of field recordings, songs, and interviews. Hopefully, this might help to collapse the barriers of physical space that contribute to the misunderstandings between cultures and to emphasize the subversive value of sharing experiences across political borders.

"Yuri Suzuki is among the 2016 Swarovski Designers of the Future Award commissions, unveiled at Design Miami/Basel 2016."

"Nick Luscombe concludes his personal journey through music and architecture, with a look at past and present visions of the future, including tracks from Yuri Suzuki, Alexandre Desplat and Abdullah Ibrahim. We hear the music choice of architect Kengo Kuma and a brand new work from Scanner, inspired by Kuma's Yudo Pavilion."

"Why can't you see in outer space and why can't you hear in a rainforest? A conversation, with sound illustrations, with the composer and sound artist Francisco López in advance of his performance at EMPAC in Troy, New York on April 28, 29, 30, 2011. Touching on his past and future creations and experiments including a 2001 work for the now inaccessible Brooklyn Bridge Anchorage interior and even a recording of our Clocktower clockworks. Plus a a profile of his remarkable new project, SONM (Sound Archive of Experimental Music and Sound Art), in Murcia, Spain."

"Audio description allows you to enjoy a movie or TV show without the need for any visuals. But how do these narrators strike the right tone for a scene? How do the writers decide what needs to be described? And what's in store for the future of described audio? In honor of Blindness Awareness Month, this is a brand new story about the world of Audio Description. Featuring AD Narrator Roy Samuleson and AD experts Thomas Reid and Melody Goodspeed."

Lying minutes off the coast of the Bronx mainland is City Island. Spanning only 1.5 miles in length and occupying space off the coasts of both New York City and Nassau County, its singular location and history make the island a living laboratory for exploring New York City's history and future. The entire length of City Island can be easily traversed by foot and the surrounding water can be seen and heard from virtually all points. This proximity to the water lends City Island residents a unique perspective, as they enjoy many of the conveniences of an urban life, yet still maintain a close relationship with the water. This walk will incorporate anthropological 'field study' techniques. The participants will be engaged in exercises designed to observe the environment and decipher its visual and aural 'cues'. The group will uncover the relatively unknown wonders of this "island existence" that thrive within the confines of an urban environment.

"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. "

"The ear has 20,000-30,000 hair cells, the nerve endings responsible for carrying the electrical impulses through the auditory nerve to the brain. These delicate receptors bend or flatten as sounds enter the ear, typically springing back to normal in a few hours, or overnight. But over time, loud sounds can cause more permanent damage as hair cells lose their resilience. Frequent and intense exposure to noise will cause these receptors to flatten down, stiffen, and eventually break. The damage can interfere with the ability to determine the location of a sound, cause extreme sensitivity and pain, and make it impossible to discern language with background noise. One in 20 Americans, or 48 million people, report some degree of hearing impairment. RELATED STORY What My Hearing Aid Taught Me About the Future of Wearables "

"They chased bees, raided junkyards and banged household objects. Now, half a century on, the Radiophonic Workshop are festival material. Meet the sound effect visionaries whose jobs came with a health warning"

"In 2020 the national warning system (air raid siren) is scheduled to be decommissioned. Before this happens, I am hoping to create a special composition as a swan song for the system which fits the technical specs and acoustic qualities of the hardware. This piece is to be performed/deployed simultaneously through all 4300 sirens of the Netherlands at a set time in the future - its sound enveloping everybody. Potentially, this will also be the largest sound installation of the country; in any case it is the biggest instrument available. "

"Nadine Robinson's "Coronation Theme: Organon" is a great, rumbling wall of potential power, a majestic ode to past blood, sweat and tears and a firm promise of future might. "

"Listening for Instruction surveys how sounds are used as signifiers in public spaces. ​  Collecting beeps, hisses, tones and automated voices, this work looks at how human workers are replaced by recorded sound, how sound is used to direct our behaviour, and how the voice is positioned within that. Probing current debates around the potential changes automation brings to working lives this study advocates for an automated future, supporting the anti-work movement's call for 'the right to the idle' - the artists commit their own voices into a hybrid synthetic persona in support of this."

"As our environments change, so too do the sounds they make - and this change in soundscape can affect us in a whole host of ways, from our wellbeing to the way we think about conservation. In this Podcast Extra we hear from one researcher, Simon Butler, who is combining citizen science data with technology to recreate soundscapes lost to the past. Butler hopes to better understand how soundscapes change in response to changes in the environment, and use this to look forward to the soundscapes of the future. "

"My listening protocol is not a set of fixed instructions on how to listen. This protocol is a set of notes for listening, which I use as part of my practice-based research on sound, art, public space and postcolonial entangled histories. It both reflects past listening experiences and anticipates future listening experiences."

"If you flip on a waterfall to fall asleep, if you keep rainymood.com in your bookmarks, if you associate well-being with the sound of streams and crickets or wonder why the beach never quite sounds as tranquil as you imagine, it's because of Teibel. New York's least likely media mogul was the mastermind behind Environments, a series of records he swore were "The Future of Music." From 1969 to 1979, he took the best parts of nature, turned them up to 11, engraved them on 12-inch records, and sold them back to us by the millions. He had a musician's ear, an artist's heart, and a salesman's tongue, and his work lives on in yoga studios, Skymall catalogs, and the sea-blue eyes of Brian Eno. If you haven't heard of him, it's only because he designed his own legacy to be invisible. "

"The acoustic properties of our houses, offices and public spaces can have a major impact on how comfortable we find them and may even affect the way we behave."