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"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."

"do it Get creative with DIY instructions from world-class artists, musicians and designers"

"At this point, I should mention what I have neglected to say. Top Secret uses an algorithmic Bluetooth device that tracks your coordinates in the museum, sending you further information and instructions based on your location. This also means that when the voice in your headphone asks you a question, you can respond by moving in certain ways or relocating to specific areas in the galleries. For example, you may be asked to answer a question by walking to the other end of a gallery or waving your notebook (which Top Secret provides you with in the air above your head. "

"Sound Garden is a 16 inch high, 15 foot square platform of wood squares that recreates a section of a gymnasium floor, or a high-finish dance floor. The parquet is framed by a three foot wide planter of white pansies in full bloom. Suspended above the platform, in the manner of a public address system, are four out-sized black speakers. The speakers emit a three-phase, four-track audio component of verbal instructions for dance routines, the bouncing of a basketball on the floor of the gymnasium, tap dancing and the swiping of an eraser on a blackboard. The work thus takes the form of a rather peculiar hybrid structure with visual, auditory and olfactory dimensions."

"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."

"Treatise, which was composed between 1963 and 1967, is considered to be Cardew's greatest achievement. It's also a total head-fuck for anyone who attempts to approach it. It's a 193 page graphic score with no instruction - completely in the hands of the conductor and musicians who interpret it."

"Cooking sounds resonate between the interest they draw in contemporary culture and the neglect in which we have been under-hearing them for many years. It is addressed by Tara Brabazon, a researcher in Cultural Studies, in her article The Sounds of Food: Defamiliarization and the Blinding of Taste.[1] She indicates that in food literature, the attention given to sound is reduced and approaches the acoustics of food as an "oral history" of the obsolete, unheard, undocumented geographies created around food, questioning the cultural hegemony of the visual, the tactile, and the gustatory. Anna Harris is an anthropologist studying topics related with well-being and nutrition who wrote the article The Hollow Knock and Other Sounds in Recipes,[2] where she examines how sound has been used to communicate and instruct the preparation of a group of food recipes including bread loafs. "

In the decades following World War II, the musical score emerged as a unique and powerful medium for experimental art. A new movement of visual artists, composers, poets, and performers reimagined the score-traditionally defined as the written representation of a musical composition-as a tool for structuring experimentation in the nascent fields of performance art, conceptualism, and intermedia. They drew inspiration from unconventional musical notations devised in the early to mid-1950s by the composers Earle Brown, John Cage, and Morton Feldman. The new movement's use of experimental scores spread during the 1960s through publications, festivals, concerts, classrooms, networked correspondence, exhibitions, happenings, and a renewed awareness of score-like antecedents in the charts, diagrams, sketches, and written instructions of earlier avant-gardes, from Dada and Surrealism to the Bauhaus. By the later years of the 1960s, diverse communities of artists, musicians, poets, and dancers had transformed the possibilities of the score into an ever-expanding universe of textual, symbolic, and graphic marks. They used experimental scores to stage a multitude of practices that dismantled and recast the traditional boundaries of artistic media.