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We are pleased to announce the launch of SoundEffects, a new international peer-reviewed journal on sound and sound experience operating on the Open Journal System. SoundEffects brings together a plurality of theories, methodologies, and historical approaches applicable to sound as both mediated and unmediated experience. The journal primarily addresses disciplines within media and communication studies, aesthetics, musicology, comparative literature, cultural studies, psychology and sociology. In order to push the boundary of interdisciplinary sound studies into new areas, we also encourage contributions from disciplines such as health care, architecture, and sound design. As the only international journal to take a humanities-based interdisciplinary approach to sound, SoundEffects is responding to the increasing global interest in sound studies.

""We are delighted to present a guest-edited issue of the Interference Journal. The editors Fernando Iazzetta, Lílian Campesato and Rui Chaves present Out of Phase, a selection of papers from the Sonologia 2016: Out of Phase conference. I would like to thank the team of editors at the Interference Journal, Tony Doyle, Rob McKay, Kate Carr, Brian Bridges and Stephen Roddy for finalising this latest issue.""

"In this edition of Fusion Journal we wish to explore the act of listening to the land, to others, to difference, as encountered in embodied and virtual spaces. We especially encouraged contributions that represent creative practice as well as more traditional text-based articles. How might we attempt to interpret what is being said in languages we do not understand? How might we resist - even if just for a moment - adding our own sounds to the noises of the neoliberal project of the anthropocene: the clashing music of the shopping mall, the automated voice, the shock jock, the celebrity, the power tools, the leaf blowers, the bulldozers, the mining blasts. How might we listen out, or tune in, to the small, the subtle, the unnoticed, the dying, the unusual, the banal, the mad, the unexpected?"

A new special issue of the great Journal of Sonic Studies has been published, dedicated to "sounds of space".

"An online journal exploring process in sound art practice from artists' perspectives."

"is new music journal focused on improvised music, open scores in various forms like prose, graphic and action notations. "

In Resonance: The Journal of Sound and culture "This paper explores the cultural ramifications of music generated by artificial intelligence (AI). Deploying complex algorithms to create original music productions, AI's automation of human authorship may suggest a radically new sonic form. However, its creators have preferred to use its tools to mimic established musical genres from the past. "

Journal articles focused on underwater listening.

"Our brains "time-stamp" the order of incoming sounds, allowing us to correctly process the words that we hear, shows a new study by a team of psychology and linguistics researchers. Its findings, which appear in the journal Nature Communications, offer new insights into the intricacies of neurological function. "

"This issue of Interference asked authors to consider sound as the means to which we can explain the sonic. Contributions to the study of sound, apart from practice-based works, are often disseminated through language and text. This is the case for most analysis or research into sensory based and phenomenological studies. There is of course a strong case to be made for text; it is the universal way in which contemporary knowledge is transmitted. But perhaps there is an argument to be made for new ways to not only explore sound but to disseminate ideas around the sonic. For example, in what way can 'sonic papers' represent ideas about the experience of space and place, local and community knowledge? How can emerging technologies engage with both the everyday soundscape and how we 'curate this experience'? What is the potential of listening methods as a tool to engage community with 'soundscape preservation' and as a tool to critique and challenge urban planning projects?"

The World Forum for Acoustic Ecology (WFAE), founded in 1993, is an international association of affiliated organizations that share a common concern with the state of the world's soundscapes. Our members represent a multi-disciplinary spectrum of individuals engaged in the study of the social, cultural and ecological aspects of the sonic environment. Within this framework of care for the sonic environment WFAE works in collaboration with it's Affiliated and Associated Organizations to promote:

Andra McCartney is a multimedia soundscape artist, composer, performer and poet. Currently she is working on 'Soundwalking Home', a series of soundwalks through neighborhoods in which she has lived, and a soundscape documenting the Lachine Canal region, near Montreal. McCartney's installations have been shown at Maid in Cyberspace Encore (Montreal), KAAI Modern Fuel Gallery (Kingston, Ontario), miXing Women In Sound Art Festival (Chicago), The Kitchen ... Her writings have been published in Leonardo Music Journal, MusicWorks ... She has collaborated with visual artist P.S. Moore, championed the work of soundscape composer Hildegard Westerkamp, and she is actively involved with the World Forum for Acoustic Ecology. She lives in Montreal and is teaches at Concordia University, Montreal.

'Sonic Journalism' is the aural equivalent of photojournalism. It describes the practice where field recordings play a major role in the discussion and documentation of places, issues and events and where listening to sounds of all kinds strongly informs the approach to research and following narratives whilst on location."

"This episode features a conversation with Tucson-based sound artist, Glenn Weyant. I first learned of Glenn's work when I discovered The Anta Project, a series of recordings he made by playing the border walls, fences, and assorted ephemera along the U.S./Mexico border. Glenn also talks about building instruments and his explorations at the intersection of journalism and sound art."

"An ongoing project that started life during a one week residency at the Soundfjord Gallery. My proposal was as follows: A letter written to the journal IEEE in 1969 suggests the curious possibility of clay sound recordings from antiquity. Claiming to have evidence, an enigmatic scholar named Richard G. Woodbridge III outlines a hypothesis: sound, by causing a shimmering of airwaves, leaves traces on materials the waves break upon; wet paint, for example, or the soft, wet clay spun by a potter. Using suitable technology a contemporary listener might hear these traces, so allowing a rehearing of whatever sonic activity was occurring in that original impact of sound wave and substance."

"As museums continue to search for new ways to attract visitors, recent trends within museum practice have focused on providing audiences with multisensory experiences. Books such as 2014's The Multisensory Museum present preliminary strategies by which museums might help visitors engage with collections using senses beyond the visual. In this article, an overview of the multisensory roots of museum display and an exploration of the shifting definition of 'object' leads to a discussion of Pierre Schaeffer's musical term objet sonore - the 'sound object', which has traditionally stood for recorded sounds on magnetic tape used as source material for electroacoustic musical composition. A problematic term within sound studies, this article proposes a revised definition of 'sound object', shifting it from experimental music into the realm of the author's own experimental curatorial practice of establishing The Museum of Portable Sound, an institution dedicated to the collection and display of sounds as cultural objects. Utilising Brian Kane's critique of Schaeffer, Christoph Cox and Casey O'Callaghan's thoughts on sonic materialism, Dan Novak and Matt Sakakeeny's anthropological approach to sound theory, and art historian Alexander Nagel's thoughts on the origins of art forgery, this article presents a new working definition of the sound object as a museological (rather than a musical) concept."

"As he prepares for a performance, B&O PLAY visits London's Kew Gardens and meets the artist Wolfgang Buttress who tells us about his soon to be sonified sculptural installation, The Hive."

"Ears are a peculiarly individual piece of anatomy. Those little fleshy seashells, whether they stick out or hang low, can be instantly recognizable in family portraits. And they aren't just for show. Researchers have discovered that filling in an external part of the ear with a small piece of silicone drastically changes people's ability to tell whether a sound came from above or below. But given time, the scientists show in a paper published Monday in the Journal of Neuroscience, the brain adjusts to the new shape, regaining the ability to pinpoint sounds with almost the same accuracy as before."