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"During the Covid-19 pandemic, comparisons have often been drawn between lockdown measures and prison, yet people with lived experience of prison have countered that such domestic confinement bears little resemblance to the pains of imprisonment. These different viewpoints suggest that the general public has little understanding of what happens behind prison walls. This blogpost considers how prisoner writing can describe prison to the non-prisoner reader (i.e. a reader who does not have lived experience of prison), bearing witness to the carceral experience. Drawing on examples of short stories about prison, written by current or former prisoners, I examine how these writers recreate sensory aspects of prison in their writing. Carceral texts commonly recount the sights, sounds, touches, tastes and smells of prison; but, in my experience of reading and analysing prisoner writing, it is the depiction of prison sound that is most powerful and affecting. In this blogpost, I examine how prisoner-writers translate the speech and sounds of prison into written form, to convey the carceral experience to those outside prison walls."

"Artist Julianne Swartz presents a sound installation, Digital Empathy, which greets High Line visitors with a variety of messages. At some sites, computer-generated voices speak messages of concern, support, and love, intermingled with pragmatic information. In other sites, those same digitized voices recite poetry and sing love songs to park visitors."

"The Music Construction Machine is a large, public, generative music box, which people can operate via a big hand crank. The project is on public display in the Goethe-Institut Pop Up Pavillion in Wroclaw, Poland, as part of the cultural capital program."

" DVD-ROM (for MAC and PC) that contains 5 sound compositions generated in ³real time² by a computer algorithm. The works are: Room Piece Twenty-four; Noema; Steiner Suite; Unintending; Scene"

"Double Mouth Feedback is a multi-channel sound installation. The source material for this project is generated from vocal recordings from participants. The recordings were created in response to a series of prompts asking the participants to manifest their experience of gender through vocal sound. The vocal composition was created with electronic composer Bruno Coviello. The installation incorporates the material aspects of sound, using wave patterns, interference phenomena, and vocal superposition to structure the composition. Multiple Frequencies, pitch shifts, and expressions are woven together to collectively imagine a more inclusive and expansive gender system."

"Welcome to the Resources Section. These resources provide useful information for the creation of audio games, game accessibility and background information of the industry in general."

"No field of study based on sensory experience seems to be overburdened by terminology to the same extent as that dealing with sound and hearing. The visual sense, of course, has received as much attention as the auditory from physics, psychology, neurophysiology, and the visual arts, which have all contributed terminology and jargon alike, but a great deal of it seems to have entered the common vocabulary already, and at least the general notions involved are seldom foreign to the average citizen or student. Terms such as perspective, foreground, background, colour, spectrum, shadow, focus, image, reflection, transparent, translucent and the wealth of descriptive visual terms, not to mention common visual impairments and the complexity of visual language found in contemporary cinema and photography - all of these have found public familiarity in a way that it is hard to imagine their sonic counterparts ever matching. Almost every school child knows what white light is, and how it is composed, but would he know what white noise is, even though the likelihood of it having an adverse effect on him is far greater? The ability to perceive three-dimensional visual perspective when projected onto a two-dimensional surface, by no means a simple achievement given the lateness of its appearance in our civilization, is irrevocably ingrained in the child's perceptual habits at an early age, and yet the ability to distinguish acoustic parameters, or experience subtle nuances of timbre (supposing he knows what timbre, the sonic equivalent of colour, is) may never be among his perceptual skills."

This is just one video, poke around on the site to find more. "Anechoic is a 'collections story' that uses sound instead of visuals to interpret the essence of key garments from the Autumn/Winter 2006 collections by leading fashion brands. Part of a series of projects devoted to exploring 'The Sound of Clothes', these interactives and fashion films explore sound 'generated' by the garments themselves."

"Blind walk (the denied city) is a sound walk that tells the story of Santo and Peppino, two friends blind from birth and therefore lacking a visual memory of the world. Guiding us on a journey through darkness, Santo and Peppino offer us two special points of view that help us reflect on the knowledge of the world and the awareness of ourselves. Talking about their lives, their way of dreaming, remembering and perceiving, Santo and Peppino reveal a personal and unconventional Palermo, where memories of university life and political struggle overlap with everyday experience; where the perception of art mixes with that of the night and where, above all, the problem of the absence of sight is resolves in the presence of a wealth of signals and codes through which it is possible to understand the world surrounding us. A dear and old blind friend has since many years very good guide dog, who also has lost his sight, so now they guide each other is the title of the second part of the project which consists of a series of guided tours to Manifesta held by blinds.The intent is both to provide a better usability of the exhibition to other blind people (who generally do not find an appropriate reception in exhibitions like this) and to offer to all visitors a non-canonical reading of the exhibited works. The visits will take place on pre-established days."

"Artificial synesthesia (syn = together, and aisthesis = perception in Greek) is a deliberately evoked or induced sensory joining in which the real information of one sense is accompanied by a perception in another sense through the use of a cross-modal mapping device. It is also known as virtual synesthesia or synthetic synesthesia. The additional perception is regarded by the trained synesthete as real, often outside the body, instead of imagined in the mind's eye. Its reality and vividness are what makes artificial synesthesia so interesting in its violation of conventional perception. Synesthesia in general is also fascinating because logically it should have been a product of the human brain, where the evolutionary trend has been for increasing coordination, mutual consistency and perceptual robustness in the processing of different sensory inputs."

"In theoretical physics, 'Bosonic' refers to the original version of 'string theory', developed in the 1960s. Although the initial hypotheses behind Bosonic String Theory have since been expanded and modified, the underlying principle remains intact; that the various properties of matter and force can be a reflection of the ways in which a string vibrates. The oscillating properties of these hypothetical strings determine the properties of particles and all forms of energy. As such, the theory proposes that the entire world may be composed of these infinitely small vibrating 'strings'. Bosonica is a sonic exploration of the concepts behind this theory. The sound material which underpins the work is predominantly sourced from stringed instruments, in particular piano, guitar (acoustic and electric) and cello. At times the original properties of these vibrating strings are very present and recognisable, however the work explores increasing blurring and abstraction, creating new constructions from the original material and presenting to the listener dense and abstract dimensions. Despite this, the untreated instrumental material consistently returns as a reminder that it serves as the building block from which all other material is derived. The use of 5.1 spatialisation magnifies the perceived kinetic energy of material. Small gestural fragments are scattered over the 5.1 array to form accumulative trajectories of sound, and the listener becomes immersed in the dark abstract landscapes generated by the sounds of strings. The work was composed in 2009 in the Electroacoustic Music Studios of the University of Manchester, UK. With thanks to Emilie Girard-Charest (cello) and Camilo Salazar (guitar)."

"We use diffusion models to generate spectrograms that look like images but can also be played as sound."

"M.A.P // A.M.P Music Library aims to create a repository of activist music, which will serve as an archive to amplify the reach of music as an expression and a tool of social and political activism. This library is an effort to bring together such voices from the region that may have gone unheard. In the process, we hope to create a rich and diverse range of activist music that will span all genres and generations of music and poetry."

Infrasonica is a digital platform of non-Western cultures. We record, analyze and debate the eeriness of sound and its auras, linked to the world with the audible, the hidden and the sensitive. Infrasonic waves operate at a frequency that is undetectable by human ears even though they are often generated by massive ecological phenomena, such as the movement of tectonic plates or the deep currents of the ocean. Infrasonica aims to be a catalyst for those vibrations. The platform includes archives of experimental sound and visual artists, as well as theoretical musings on contemporary critical thought. By relying on a borderless network of collaborators, Infrasonica blends essays, conversations and speculative works that encourage critical curatorial and research projects.

"Talking Popcorn is a sound sculpture that evolved out of my interest in language, translation, and Morse Code. A microphone in the cabinet of the popcorn machine picks up sound of popping corn, and a computer hidden in the pedestal runs a custom-written program that translates the popping sounds according to the patterns and dictates of Morse Code. A computer-generated voice provides a simultaneous spoken translation."

"Acknowledging a lack of solutions to help visually impaired children to apprehend their movements and surroundings, a team lead by IIT-researcher Monica Gori created the ABBI project. Built with young children in mind, this bracelet is generating audio based on body movement and spatial localisation and, therefore, helping them interacting with other and their surroundings."

"In 1978, Brian Eno released Ambient 1: Music for Airports, a landmark album in ambient and electronic music. Although it wasn't the first ambient album by any means, it was the first album explicitly released as an 'ambient music album'. The album was essentially a continuation of Eno's experimentation with the tape machine as a compositional tool, as well as his exploration of generative music, music created by systems. In this article I'll discuss how Music for Airports was created, I'll break down and recreate the tracks 2/1 and 1/2, and hopefully give you some ideas about how to adopt this approach yourself."

"I wondered why an artist like Brian would be interested in matters of spacetime and relativity. The more I got to know Brian, I knew it wasn't a time filler, or for his health. What I was about to discover during my two years in London was that Brian was something I've come to call a "sound cosmologist." He was investigating the structure of the universe, not inspired by music, but with music."

"This webpage contains earthquake "sounds" created from seismic recordings around the world generated by the 2011/03/11 Mw9.0 Tohoku, Japan earthquake. They provide a unique way for us to listen to the vibration of the Earth that is otherwise inaudible to us, and to decipher the complicated earthquake physics and triggering processes. "

"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."