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"Some questions we aim to address are; How can we analyze and address the increasingly homogenized sounds of urban environments from traffic and other forms of urban "noise"? How can we creatively respond to the effect of urban noise on the loss of character or identity of a place? What are desirable sound environments? How can we establish new codes or behaviors that help shape our sound environments? How can we adapt or modify existing the architectural to develop new acoustic spaces? How can we identify unique or characteristic social patterns that help shape the sonic identity of a place? What role does technology play in this process, specifically newly available and more affordable digital recording technologies? "

"I first heard about voice donation while listening to "Being Siri," an experimental audio piece about Erin Anderson donating her voice to Boston-based voice donation company, VocaliD. Like a digital blood bank of sorts, VocaliD provides a platform for donating one's voice via digital audio recordings."

"I just came back from New York City, a place with an overwhelming sound, everywhere you go. And each location in a city like that has its own resonance, its own sonic identity. That's hard to hear though if there is so much noise around it becomes a cacophony. But what if we could isolate this resonance and listen to the astonishing differences in the sound of urban spaces? Davide Tidoni did just that with A Balloon for Linz. Luckily Linz is not NYC, and he was able to find spots which were quiet enough to make a clear recording (using his nice helmet mount microphone). You might recognize the concept as Davide did something similar before."

"Joe Banks is a sound artist, author and researcher, originally specialising in radio phenomena and electromagnetic noise. For over twenty years Joe has been performing, releasing albums and exhibiting under the guise of Disinformation. This Disinformation brand name allows for a critique of corporate identities and modern communication, and uses a sonic palette sourced from errant radio waves, natural earth signals, and interference from the sun and from the National Grid, etc. In 2012, Joe published "Rorschach Audio - Art and Illusion for Sound" on Strange Attractor press, a book that explored the subject of EVP (ghost voice) research in contemporary sound art practice. Joe's work currently focusses on language and evolutionary neuroscience. Joe lives in London, 40 metres from the spot where physicist Leo Szilard conceived the theory of the thermonuclear chain reaction."

Having students understand ideas of expansiveness, asymmetry, and non-linearity as central to black cultural expression and critique-even as artists refuse to sacrifice an expressed political commitment to black resistance-begins to suggest ways for students to contemplate the intersection of identity politics with the unexpected, fantastic elements of expression that lie outside of more recent flattened diagnoses of black nationalism."

"SEE SOUND AS MOVING LINES OF LIGHT "The word accelerated loses its identity and becomes a pattern pregnant with energy. It is pregnant with the energy of its potential meaning should it once again become a word.""

As you're tuning your speakers in preparation for Live in Concert, listen to "RAGE (After Tokyo 2020)," DJ Mars89's new mix in response to the Tokyo Olympics-and in opposition to hollow celebrations of national identity and false displays of unity. Moving between speeches, industrial noise, deconstructions of traditional Japanese instruments, and protest music, Mars89 channels the widespread anger at the Olympics: a self-aggrandizing indulgence pushed through by the country's elites during a pandemic, at incredible cost to the people. The mix is published as part of Unknown States, an issue devoted to the fictions that give rise to nations and nationalities.

"Pushing off from experiences in which music hails its listener in terms of communal belonging, this essay tries to productively shift our attention towards the queerness of sound itself, as both an agent and a solvent of the political experience of antagonism encountered when identification claims us (or fails to claim to us). Sound- not music but the raw immanence of sounds we cannot identify- can let us hear what is not yet locatable on the available maps of identity. Hearing the queerness of sound might help us echo-locate the edges of subjection, and encounter its ontological outside."

"Darius Marder's Oscar-nominated film is less about the Deaf community than about the process of losing a sense inextricably tied to one's identity."

"The idea is to highlight the physical nature of 'cloud computing' and to remind people that whilst their phones might be sat silently in their pockets, somewhere out there, a huge hive of hard drives and fans is spinning around frantically; managing our digital identities."

"Sculpture-situated within the sensibilities of space, embodiment, and the physical world-offers a richly speculative arena for experimentation with materials and technology. The continuing expansion of practices reminds us that sculpture no longer resides in a world of "things": contemporary physics now reformulates "solid" matter as process and flow, foundational concepts for art are now redefined or dismantled, and virtuality often stands in for the "real." The implementation of sound created by artists as sculpture has contributed robust tools and a new sense of identity for these changing boundaries. Yet while sound has become almost ubiquitous in contemporary art, it has garnered scant scholarship, and its artists are often neglected. "

This video shows a male Schizocosa ocreata wolf spider displaying courtship behavior. Males of this species use multimodal communication (visual and vibratory/seismic signals) to communicate their species identity and condition to prospective females..

Samson Young's compositions, drawings, installations, radio broadcasts, and performances touch upon topics such as military conflict, identity, migration, and political frontiers past and present. Sound and its cultural politics are at the heart of a practice that interlays multiple narratives and references. The relationship between violence and sound is a recurrent line of investigation in Young's work, which is often based on extensive research.

"Sound art has an identity crisis. Trapped between experimental music and traditional art mediums, it suffers from inaccessibility and an elitist, academic "cost of entry" requirement in order to connect with works in the contemporary art canon. With the recent passing of sound artist Alvin Lucier, the only hope for the future of sound art is in uplifting the outliers who push towards creating new conceptually rooted work rather than continuing to reward artists who glorify technology at the expense of providing approachable entry points."

'Profile,' a single-channel self-portrait by Candice Breitz (born 1972, Johannesburg, South Africa) reflects on Breitz's nomination as one of two artists chosen for the South African Pavilion at the 57th Venice Biennale. 'Profile' fuses self-portraiture with brand promotion, biography with racial profiling, artist statement with political campaign. It interrogates the workings of representation, addressing the complex relationship between the identity of an artist and the specificity of their practice. Rather than appearing before the camera herself, Breitz collaborates with ten prominent South African artists who could equally have been selected to represent the country

"Sarah Hennies's highly personal explorations of "queer and trans identity, love, intimacy and psychoacoustics" are increasingly played by others."

"UrbanRemix is a collaborative and locative sound project. Our goal in developing UrbanRemix was to design a platform and series of public workshops that would enable participants to develop and express the acoustic identity of their communities, and enable users of the website to explore and experience the soundscapes of the city in a novel fashion."

"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."