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"20 Hz observes a geo-magnetic storm occurring in the Earth's upper atmosphere. Working with data collected from the CARISMA radio array and interpreted as audio, we hear tweeting and rumbles caused by incoming solar wind, captured at the frequency of 20 Hertz. Generated directly by the sound, tangible and sculptural forms emerge suggestive of scientific visualisations. As different frequencies interact both visually and aurally, complex patterns emerge to create interference phenomena that probe the limits of our perception"

"At www.mta.me, Conductor turns the New York subway system into an interactive string instrument. Using the MTA's actual subway schedule, the piece begins in realtime by spawning trains which departed in the last minute, then continues accelerating through a 24 hour loop. The visuals are based on Massimo Vignelli's 1972 diagram."

Another nice looking physical representation of a sound wave is created by Andrew Spitz from { sound + design } in collaboration with interaction designer Andrew Nip. Paper Note is made using a laser cutter to create discs of paper who form the waveform when joined on a piece of string.

"Really Good Elevator Music is an experiment that explores the potential of sound to stimulate social interaction and community building in the strikingly diverse Philadelphia neighborhood of Chinatown North/Callowhil, Philadelphia (8th to Broad, Vine to Spring Garden)"

"Philadelphia's Franklin Institute will soon unveil a new exhibit called Your Brain: www.newsworks.org/index.php/thepul…ur-of-your-brain. The Pulse's Zack Seward got a sneak peek from chief bioscientist Jayatri Das. The exhibit features about 80 interactive installations exploring how your brain works. And this one ... will blow your mind."

"CalArts opens its Digital Arts and Technology Expo, and one project is continuing to pique our interest in bio-orchestras. "Cultivating Frequencies," a collaboration among music technologist Colin Honigman and designers Sean Chen, Marc Dubui, and Wen Han, is turning a garden into a generative music machine, including a interactive element that turns the individual plants into-touch sensitive instruments."

"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 human telephone was like an electromagnetic update to the oracle at Delphi: a lone female figure with access to distant voices, dancing slowly across a dance floor secretly wired from below, an interactive surface whose hidden technology extended up into her very clothing. "

"Sixteen bottles, each with its own air blower, stand arranged in a circle playing music. For his piece, and the wind was like the regret for what is no more, artist João Costa brings the wind indoors, translating its wild energy into simple sounds. "The work explores the interaction of two invisible factors, sound and wind," explains Costa in the video's description. "It deals with the dialectics of scattered and shapeless coefficients that cannot be seen, but have an intrinsic need of existence, of being, and nothing more. To articulate these elements is to deal with the unknown, the unpredictable.""

The Expressive Body: Memory, Devotion, Desire (1400-1750), an exhibition at the Norton Simon Museum Contemplates sacred and secular bodies in painting and sculpture, and how our bodies as viewers interact with them, the show is a perfectly timed refresher on the importance of physicality in art.

"Welcome to the final installment of Hearing the UnHeard, Sounding Out!'s series on what we don't hear and how this unheard world affects us. The series started out with my post on hearing, large and small, continued with a piece by China Blue on the sounds of catastrophic impacts, and Milton Garcés' piece on the infrasonic world of volcanoes. To cap it all off, we introduce The Sounds of Science by professor, cellist and interactive media expert, Margaret Schedel."

"For an exhibition at the Hessel Museum of Art, the artist wired five groups of corn plants to five music devices, forming a biofeedback system. Control signals were generated by measuring the electrical resistance of the plants' vegetable tissue, which in turn activated the MIDI synthesizers. Viewers were encouraged to interact with and touch the plants, which affected the sounds being played. The audience and cornfield were not just participants but actors, acting together-in concert-to produce the work."

"As part of the 21st Biennale of Sydney Oliver Beer will exhibit two new works: Composition for Mouths (Songs My Mother Taught Me) I & II, 2018 at the Art Gallery of New South Wales. These two films are a direct response to Beer's unprecedented access as artist in residence at the Sydney Opera House. Exploring ideas of cultural memory and 'inherited music', Beer asked singers to recall the earliest songs they remembered from childhood, incorporating the melodies into new compositional forms. Joining their lips in a tight seal to create a single mouth cavity, the singers explore the resonant frequencies of each other's faces as well as the architecture. They blend their voices to create rhythmic microtonal harmonic interactions known as 'beats' whilst combining adapted forms of their remembered music."

"Having spent most of my childhood and all of my high school years (between 1987 and 2005) in São Paulo, I find myself looking back at my sensory experience of the city as one mediated by fear, segregation, and vigilance. I have become interested in Vincent Adrisani's (2015) idea of sonic citizenship-ordinary, everyday auditory interactions and experiences through which presence in and claim over public spaces is asserted."

"Neuroscientists have found that there are audiovisual mirror neurons in the monkey premotor cortex that discharge when the animal performs, sees, or hears a specific action. Scientists of human motion have shown that auditory stimuli are important in the performance of difficult tasks and can, for example, elicit anticipatory postural adjustments in athletes."

"His latest piece includes some of those elements usually present in his installations but instead of being fixed in rooms and sculptures, are used in an improvised performance called Small Movements, in which feedbacks, grains, objects, tiny spaces, delicate rhythms and thin drones interact to create a beautiful dynamic continuum of microsonic silhouettes."

"For over 30 years, artist/musician team, Bill and Mary Buchen, have designed public art installations and interactive sound sculptures for parks, schools, science centers, transit stations, children's museums and playgrounds around the world. Their artworks invite active play and group participation; whether tapping rhythms on percussion instruments inspired by global music cultures or investigating environmental phenomena."

"Bodyscape is inspired by the body of a dancer as sonic source. The information is taken via biosensors and microphones, which record movements and events generated by the body. In this ecosystem, the dancer produces sounds, mainly inaudible, which are then amplified and send back to the performance space, where the dancer interact with them as biofeedback. The site-specificity of the work relates to the spatial considerations and resonances. Field recordings were collected at the border of Botswana and South Africa. L'épidemie virale en Afrique du Sud, a text from the Swiss writer Friedrich Dürrenmatt, informed the journey. The text describes a virus transforming white persons into black persons. A text about privileges."

"For over a year now, London has been a simmering site of dormant musical gatherings and suspended physical proximities, prompting me to wonder what's happened to the visceral, tactile energies through which collective musical formations gain so much of their social and emotional force. As Ben Assiter points out, the migration of electronic dance music online during the pandemic accelerated currents that were already underway with the ubiquity of livestream platforms like Boiler Room. With physical assembly prohibited, the dematerialization of collective musical experience gave rise to a whole new level of face-to-screen "participation," as solitary DJs began broadcasting live from empty clubs to bedroom audiences, who in turn performed "ironic dance floor interaction[s]" in the chat boxes."

"Digital Sanctuaries, Manhattan is an urban soundwalk combining the original music of Electric Kulintang (Susie Ibarra and Roberto Rodriguez) with the visual art of Makoto Fujimura and interaction design by Shankari Murali. Built for both IOS and mobile web app, Digital Sanctuaries invites the public to alight on a virtual pilgrimage through the built environment of a cityscape, finding meditative spaces in unexpected places, marked by an ever-changing musical score. As the audience engages with the music in each place, they are encouraged to discover the hidden qualities of the world without while taking time to contemplate the world within."