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"ernoudt Jacobs is an artist fascinated with sound in all its forms and possible expressions. He collects fields recordings around the world but he also creates installations based on Bell's photoacoustic effect that reveals the sonority of any material hit with a strong beam of light, builds sound microscope that magnifies the freezing and melting process of water or suspends coils, magnets and 1000 tin cans into the air to play with the laws of electromagnetic induction and generate tiny vibrations that produce sounds. It is as if everything in the visible and the invisible world provides him with endless opportunities for sound exploration. "

"Robertina Šebjanič is one of those rare artists who brings as much attention to the aesthetics and concepts behind her artworks as to the meticulous scientific research that sustains them. Her installations, sound experiments and performances invite us to reflect upon our relationship as human beings with the rest of the world. Over the past few years, she has been collaborating with scientists, hackers, thinkers and other artists to explore themes such as interspecies communication, underwater sound pollution, the possible coexistence of animals and machines, chemical processes, the origin of life, etc. "

In February 2016, U.S.-based astronomers announced that they had detected gravitational waves, vibrations in the substance of space-time. When they made the detection public, they translated the signal into sound, a "chirp," a sound wave swooping up in frequency, indexing, scientists said, the collision of two black holes 1.3 billion years ago. Drawing on interviews with gravitational-wave scientists at MIT and interpreting popular representations of this cosmic audio, I ask after these scientists' acoustemology-that is, what the anthropologist of sound Steven Feld would call their "sonic way of knowing and being." Some scientists suggest that interpreting gravitational-wave sounds requires them to develop a "vocabulary," a trained judgment about how to listen to the impress of interstellar vibration on the medium of the detector. Gravitational-wave detection sounds, I argue, are thus articulations of theories with models and of models with instrumental captures of the cosmically nonhuman. Such articulations, based on mathematical and technological formalisms-Einstein's equations, interferometric observatories, and sound files-operate alongside less fully disciplined collections of acoustic, auditory, and even musical metaphors, which I call informalisms. Those informalisms then bounce back on the original articulations, leading to rhetorical reverb, in which articulations-amplified through analogies, similes, and metaphors-become difficult to fully isolate from the rhetorical reflections they generate. Filtering analysis through a number of accompanying sound files, this article contributes to the anthropology of listening, positing that scientific audition often operates by listening through technologies that have been tuned to render theories and their accompanying formalisms both materially explicit and interpretively resonant.

"   "Blissful positive energy," "Full chakra healing," "Extremely powerful third eye opening" - such are the benefits of binaural beat listening as promised in the titles of a few popular YouTube videos.[1] Throughout the wide distribution network of binaural beat audio, discourses abound that purport effects such as heightened sexual arousal; improved performance at job interviews; psychedelic-like drug experiences; enhancements in creativity, IQ, and lucid dreaming; and assistance in the fight against cancer. More than a panacea, binaural beats and the meditative auditory experience the associated rhetoric claims they provide, do not just heal or prevent defect and injury; they heighten the overall quality of life. Or, so is the promise.  "

"Jana Winderen is an artist, widely known for her recordings that reveal sounds from hidden sources - oceans, ice crevasses, glaciers - using a variety of technology, from high quality hydrophones to ultrasound detectors. Her work is published on Touch Music (same as Chris Watson) and her biography boasts of a long and impressive list of art installations."

"What are the political potentials of listening? How does sound define the crossing of the territories of contemporaneity, of the differences in race, gender, social belonging? How can we, in the invisible depth of sound, define our belonging to the contemporary world, taking an active position in issues that concern ethics, subjectivity, the principles of collective and individual living?"

"Conserve the sound« is an online museum for vanishing and endangered sounds. The sound of a dial telephone, a walkman, a analog typewriter, a pay phone, a 56k modem, a nuclear power plant or even a cell phone keypad are partially already gone or are about to disappear from our daily life. Accompanying the archive people are interviewed and give an insight in to the world of disappearing sounds."

"According to a common assumption, scientific practice is based primarily on a rational approach. Science stands for logic and clarity, while art is considered to be more chaotic, emotional, sometimes even irrational and therefore often less understandable. Voegelin shows us that it is not at all necessary to look at one from the other, but that the opportunities lie in the connection to discover and enable listening"

"What do we really hear when we hear the wind? If you step from a wood into an open field, the sound changes, although it is the same wind blowing over both. A winter pine tree far from the coast makes the wind perform like an angry sea, while a neighbouring bare birch makes a gust-like sound as soft as the brushings of a jazz drummer. A single blast can turn telephone cables and barbed wire fencing into the strings of a wind-harp."

"Landscape with Alvin Lucier (57:40) including the performance of "Outlines of Persons and Things" (1975) The Music of Alvin Lucier (57:40) ""Bird and Person Dyning" (1975) ""Music for Solo Performer" (1965) Music with Roots in the Aether is a music-theater piece in color video. It is the final version of an idea that I had thought about and worked on for a few years: to make a very large collaborative piece with other composers whose music I like. The collaborative aspect of Music with Roots in the Aether is in the theater of the interviews, at least primarily, and I am indebted to all of the composers involved for their generosity in allowing me to portray them in this manner."

"The Discovery of Sound in the Sea website will introduce you to the science and uses of Sound in the Sea. There are several major sections on the site such as The Science of Sound in the Sea, People and Sound in the Sea, and Animals and Sound in the Sea. You will find the site's Audio Gallery a fascinating place to visit where you can listen to underwater sounds created by marine animals, human activities, and natural phenomena such as lightning, earthquakes, and rain. Check out the Technology Gallery and discover a variety of equipment that uses sound to investigate the ocean. Watch video interviews with scientists that study how marine animals produce and hear sounds. Investigate how scientists use underwater acoustics to track ocean currents, identify potential obstacles, and quantify fish distributions. There are also resources for many specialized audiences, including teachers, students, the media, and decision makers."

"In this dual performance-lecture, "In Search of Queer Sound," Tcherepnin proposed that sound, and the process of listening, exists beyond pure materiality: listening as a social process, one that is not only natural, but also cultural. He suggested that much like linguistic comprehension, our perception of sound is socially coded. "

"Sonic Acts Festival has been uploading some new videos to their YoutTube channel featuring amazing content from their edition on Geological Imagination, including talks, performances, interviews, etc."

"In case you haven't been tracking the progress of group exhibitions of sound art, a short history would be: they are generally a disaster, with many works either impossible to hear adequately in the situation or impossible not to hear while you are trying to listen to something else. "It is in sound's nature to be free and uncontrollable and to go through the cracks and to go places where it's not supposed to go," as the sound artist Christian Marclay said, in an interview, in 2005. Meanwhile, the institutions that are devoted to art exhibition-galleries, museums-are all about placing art works where they intend them to stay. "I think it's great that there is this interest in sound and music," Marclay said. "But the over-all art-world structures are not yet ready for that, because sound requires different technology and different architecture to be presented.""

"Over the past 40 years "sound art" has been hailed as a new artistic category in numerous writings, yet one of its first significant exhibitions is mentioned only in passing, if at all. The first instance of the hybrid term sound art used as the title of an exhibition at a major museum was Sound Art at the Museum of Modern Art in New York (MoMA), shown from 25 June to 5 August 1979. Although this was not marketed as a feminist exhibition, curator Barbara London selected three women to exemplify the new form. Maggi Payne created multi-speaker works that utilized space in a sculptural fashion; Connie Beckley combined language and sounding sculptural objects, showing sound in both a conceptual and physical manifestation; and Julia Heyward's work used aspects of feminist performance art including music, narrative, and the voice in order to buck abstract aesthetics of the time. This paper uses archival research, interviews, and analysis of work presented to reconstruct the exhibition and describe the obstacles both the artists and the curator encountered. The paper further provides context in the lives of the artists and the curator as well as the surrounding artistic scene, and ultimately exposes the discriminatory reasons this important exhibition has been marginalized in the current discourse."

"Urbanization has exposed people to extreme sound levels. Although researchers have investigated the ability of people to listen, analyze, and distinguish sound, the concept of noise has not been clearly articulated from a human perspective. The lack of knowledge on how people perceive noise limits our capacity to control it in a targeted manner. This study aimed to interpret the definition of noise from the public perspective based on a grounded theory approach. Seventy-eight participants were interviewed about noise, and four categories of perceived understanding of noise were identified: challenges, definitions of noise, opportunities, and action. As one of the challenges, urbanization is associated with increased noise levels around the human environment. In terms of definition, perceiving sound as noise is considered to be a result of the complex and dynamic process that includes sound, the environment, and humans. Sound and humans interact with the environment. In terms of opportunities, noise may have positive roles on certain occasions, dispelling the misconception that noise is exclusively negative. In addition, we found that noise perception has gradually shifted from noise control to noise utilization. In terms of action, noise can be controlled at the sound sources, susceptible target groups, susceptible behaviors and states, locations, and times where noise is perceived with high frequency. In this study, we investigated several aspects of noise, ranging from noise control, soundscape definition, and 'soundscape indices' (SSID) integration and application. Our findings provide an additional basis for developing better definitions, control, and utilization strategies of noise in the future, thereby improving the quality of the sound environment."

Artist reference In this interview artist Jem Finer discusses his recent body of work with David Rooney, Curator of Timekeeping at the National Maritime Museum. In his Longplayer project Finer set himself the challenge to develop a 1000 year long musical score, working within the confines of today's technology and considering how sustainable the possibilities may be over time.

"Radio can be a familiar friend, source of knowledge, a marker of time and place. But as a cultural institution, what constitutes a "good voice" in radio reflects and transmits cultural norms and structures. When I started my Community Storytelling Radio Fellowship at Making Contact, I prepared by reading articles from Transom and AIR media about interviewing, storytelling, and production. I felt more intimidated as I read about advice on 'how to do radio,' especially since some parts were very physical (e.g., holding a microphone close to a person for a significant length of time). I wondered, "Where do disabled people like me fit in the radio community? Why don't articles about diversity in radio ever mention people with disabilities?" Al Letson's 2015 Transom manifesto explores the the default straight white male voice. It resonated with me immediately and I'd also add that the "default human being" on radio is able-bodied as well."

john grzinich interviewed about the idea of sound art

"WALL OF TIME is very proud to have secured as our second interviewee one of the few eminent experts in the field, the trained architect, carpenter, musician and writer OLAF SCHÄFER."