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"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. "

It is all too easy for architecture to be seen and not heard. Instragrammable visuals may be at our fingertips, but it is impossible to photograph an echo. Sad news, considering the most memorable of spaces are those that heighten more than just our optical sense. What's more, much of new architecture is focused on controlling sound, rather than celebrating it. We want to block out our neighbours, escape the city noise, or buffer any possibility of sonic surprise. Here are 10 spaces to remind us of architecture's acoustic abilities - from the unexpected quarry opera venue to the deliberate forest megaphone. If you're a musician, imagine playing in these…

"Imagine hearing the colours you perceive. SOUND of LIGHT is a synesthetic sculpture which interprets and dynamically transforms sunlight into audio frequencies. It is a site specific installation designed for the former music pavilion in Hamm, Germany, which was built in 1912. A high-quality digital camera mounted on the top of the structure films the sky and divides it into six colours - RGB and CMY. The six hanging, coloured columns of the pneumatic structure - which stand for the primary RGB (red/green/blue) and secondary CMY (cyan/magenta/yellow) colour models - are designed to receive different frequencies and convert them from visible to audible sensory input. A series of woofers is fixed directly on the bottom of each column and convert the whole architecture into a giant vibrating loudspeak"

"Here's a fun bit: a foley artist recreating and accentuating the sounds of everyday life, transforming a shower into hand tossing spaghetti while making coffee can be blowing bubbles in a milkshake with a swirly straw. The imagination of sounds gets more and more ridiculous which results in more and more fun. Presented by Nowness and directed by Oliver Holms, it's basically sound design for life."

"The Robert L. Forward novel Dragon's Egg begins with an intrepid graduate student refusing to accept that a noisy satellite signal is just a malfunction. It must have some meaning, she thinks-and it does, turning out to herald the passing by of an inhabited neutron star (and making graduate school look rather easy). Even a malfunction, though, wouldn't really have been noise. We'd have to assume that some satellite engineer would be interested. In fact, it's hard to imagine any signal coming from space that would be of no interest to anyone. The noisiest signals are even sometimes the most important. Microwave and gravitational wave backgrounds, for example. Our modern definition of noise, as unwanted sound or signal, is a relatively recent one. The word used to mean strife, and nausea. Is the new meaning a useful ontology? Or does it encourage us to dismiss what we can't interpret? Welcome to "Noise.""

This interactive multimedia project historically and culturally situates hearing and listening in eighteenth-century Paris by re-imagining how we might present sonic artifacts to better understand auditioning subjects within pre-recording technology soundscapes. Through multiple pathways and thematic tags, the project simulates how Parisians would have interacted with the web of sonic knowledge that existed in eighteenth-century Paris. The project culls resources from across academic digital initiatives as well as popular, public platforms. This blend of sources puts into question stereotypical distinctions made between academic and public, scholarly and popular. Enjoy exploring Organs of the Soul through a choose-your-own-adventure format. And consider what constitutes your own unique auditory subjectivity.

"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."

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.

None of the music on this website exists. But don't you wish it did? The reviews that make up this preview of EAR WAVE EVENT were created by a neural network fed and trained on contemporary music press. Inverting the normal flow of music criticism, we invite artists to use these reviews prescriptively - to create realizations of musics 'imagined' by a prosthetic mind.

"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."

"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."

"There is a parallel city beneath our feet, connected by pipes and caverns, carrying rainwater, electricity, (un-)sanitary waste, and utilities. In St. Paul, It has been carved into the limestone rock for over a hundred years and extends for many miles. Above-ground pedestrians rarely notice the openings--manholes, gratings, and outfalls--and can barely imagine the subterranean spaces. That is where sound comes in: ears can judge volume,materials, shapes, and space better than eyes, in this case."

"Translocality seeks to unite human and nonhuman communities in the Bay Area socially, physically, and sonically as a living network of sentient beings. This open call invites applicants to propose soundscapes to activate sound art in Bay Area locations to: Recalibrate our sensitivity to living realities existing beyond the individual self Connect us to the complex weaving of stories, histories, and ecologies of place Investigate vestiges of memory materialized through objects, land, and architecture Imagine future possibilities for collective transformation in the SF Bay Area"

"Kyoka, the innovative producer and artist (Raster-Noton), has electrodes attached to her head with good reason. In collaboration with neurologists, she's exploring the power of sound in mood and thought. She talks to us on the eve of a premiere at Berlin's Signals Festival."

"Imagine for a moment the year 1800. A doctor is meeting with a patient - most likely in the patient's home. The patient is complaining about shortness of breath. A cough, a fever. The doctor might check the patient's pulse or feel their belly, but unlike today, what's happening inside of the patient's body is basically unknowable. There's no MRI. No X-rays. The living body is like a black box that can't be opened. The only way for a doctor to figure out what was wrong with a patient was to ask them, and as a result patients' accounts of their symptoms were seen as diseases in themselves. While today a fever is seen as a symptom of some underlying disease like the flu, back then the fever was essentially regarded as the disease itself."

"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."

"During our recent Points of Listening public event held at the De La Warr Pavilion we conducted participatory experiments in care-ful listening. Through the workshop process we created collaborative manifestos, guidelines, protocols and imaginations of listening that help us to tune in and take care, to hear the inaudible and that which does not fit within expectations of language and recognisable sounds."

"If you're like me, you've managed to kill even the hardiest of indoor plants (yes, despite a doctorate in plant biology). But imagine a world where your plants actually told you exactly when they needed watering. This thought, as it turns out, may not be so silly after all."