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"Before I began designing sound for podcasts, I assumed that there was a certain sorcery to it. There isn't. In fact, I discovered that I already knew all the fundamentals-I had learned them in my high school english classes."

Liminaria aims at narrating the territory of Fortore, a marginal rural region located in the South of Italy, through an artistic point of view, putting together the ability of digital storytelling and the approach of different disciplines (literature, sociology, aesthetics, anthropology) and different fields of investigations (design, oenogastronomy).

Urban sound has a huge influence over how we perceive places. Yet, city planning is concerned mainly with noise, simply because annoying sounds come to the attention of city officials in the form of complaints, while general urban sounds cannot be easily captured at city scale. To capture both unpleasant and pleasant sounds, we propose a new methodology that relies on tagging information of georeferenced pictures. We propose the first urban sound dictionary and compare it to the one produced by collating insights from the literature: ours is experimentally more valid (if correlated with official noise pollution levels) and offers wider geographic coverage. From picture tags, we then study the relationship between soundscapes and emotions. We learn that streets with music sounds are associated with strong emotions of joy or sadness, while those with human sounds are associated with joy or surprise. Finally, we study the relationship between soundscapes and people's perceptions and, in so doing, we are able to map which areas are chaotic, monotonous, calm, and exciting.Those insights promise to inform the creation of restorative experiences in our increasingly urbanized world.

"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. "

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.

"Walking in nature has long been associated with creativity. Yet walking's associated research and artistic practices remain dogged by representationalism. Concomitantly, intersectional concerns of race, gender, and dis/ability determine what kinds of bodies are allowed to walk where (and in this case, the where is Brexit-era Britain). This article attempts to navigate the complexity of these tensions, contextualizing a five-day walking research-creation project along St. Cuthbert's Way that we called Queer Sonic Cultures. As academics and artists interested in the relationship between walking and composition, our initial propositions are to become affected as we walked and to create sonic cultures (songs) using whatever affected us along the way. In using research-creation as a research methodology, we understand our artistic compositional practice of co-creating lyrics-melody-harmony-production-arrangement as the research. Unlike some forms of arts-based research that use an artistic form to disseminate research findings, in research-creation the artistic practice is the research and the theory. In the interests of continuing to make this apparent, we shall prefer to describe this contextualizing article as Academic Liner Notes. The Academic Liner Notes begin with a brief description of the location of the walk, contextualized within the tradition of walking and composing in the British landscape, and the use of sound-based methods and literature to represent such landscapes. In this section we will trouble the whiteness and cis-hetero heritage of walking and art in rural Britain. Following this, we will introduce research-creation as a methodology contextualized within affect studies. We argue that the resultant sonic cultures (nine in total) rather than representing the walk, in fact, more-than-representationally intensify the affective dimensions of the relations we were part of along the way."

"As Mendi + Keith describe, "For Baldwin sound, music, and the blues in particular were sources of inspiration. The multichannel sound art work meditates on a politics of listening found at the intersection of Baldwinʼs language and the sound worlds invoked in his work. It uses the glass façade of The New School's University Center as delivery system for the sound, turning the building itself into a speaker. The 12-hour piece is created using slow moving harmonies, melodicized language from Baldwinʼs writings, ambient recordings from the streets of Harlem, and an inventory of sounds contained in Baldwin's story 'Sonnyʼs Blues.'""

"The table is made of steel rods and filled it with beach rocks, then it was lowered into the ocean near Pillar Point in Half Moon Bay, where over the course of two months it accumulated living accretions from the ocean. Atop the table is an oversize sound-amplifying funnel reminiscent of the hailing horns used on whaling ships, which is constructed of laser-cut panels of polycarbonate lashed together with nylon zip ties. The horn amplifies and concentrates a sound recording made by a hydrophone close to where the table was submerged."

"post by Kristin Moriah looks at Du Bois's novel Dark Princess, and explores the relationship between sound and freedom in the text."