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"Between 1967 and 1988, Maryanne Amacher produced a 22-part series she titled City-Links. In City-Links, Amacher transmitted live sonic feeds from cities (or multiple sites within the same city) via high-quality telephone lines and mixed these sources live during installations, performances, and radio broadcasts. Sonic environments she selected included harbors, steel mills, stone towers, flour mills, factories, silos, airports, rivers, open fields, utility companies, and musicians "on location". The first in the series, In City (1967), was a 28-hour live mix connecting eight locations around Buffalo via phone lines to WBFO, Buffalo public radio. A very early example of telematic performance, or 'long distance music', the project enabled Amacher to connect acoustic spaces distant from each other and thus hear synchronicity 'live' as it is."

A work by Bill Fontana. "Notre Dame has been described as the soul of Paris. As a result of the tragic fire in 2019, its bells have fallen silent. However, these bells were not damaged in the fire and are silently waiting and secretly "listening" to the sounds of Paris around Notre Dame. This is a continuous live streaming sound sculpture that makes audible the simple physical fact that these bells are secretly ringing all the time. I think of this secret ringing as being the heartbeat of Notre Dame. The sounds that the bells produce are created by their harmonic response to the ambient sounds of Paris that surround Notre Dame, as revealed by a live network of accelerometers mounted and live streaming from all ten of the bells. The physical fact that these bells are harmonically excited by the ambient sounds of Paris is a phenomenon that this artwork makes public in a way that will not only be beautiful to hear but will have a healing relevance to Notre Dame's fire, a healing relevance to the suspended sense of time created by the Corona Virus, the tragic war in the Ukraine and the ongoing environmental threat of climate change."

"This thesis is an exploration of some of the discourses arising out of the current ecological crises (Haraway 2016; Horton 2017) and argues that radio art is a constructive method for opening out practices of listening, for helping move beyond anthropocentric dialogues, and simultaneously beyond the constraints of dominant modes of storytelling. Ecological Thinking (Code 2006) and concepts of Planetary Time (Dimock 2003) are a useful framework from which to view contemporary radio art practices because they accentuate long and complex networks of interconnectivity, not only within nature, but, more recently, between living beings, technology and the environment. By identifying the interconnectedness of radio and transmission, and the possibility for immersion not only in the content but the process of the medium itself, it is hoped that recognition will be given to the necessity to think ecologically (holistically) in order to create sustainable symbioses between humans, technology and the living and 'non-living' entities of the planet. I begin by providing an outline of anthropocene discourses intertwined with radio and radio art practice. Then I describe and contextualize the radio art work 'chorus duet for radio' (Donovan 2016), positioning it as an example of a collective, trans-scalar listening encounter. I move on to posit radio as a valuable medium from which to critique and disrupt masculinised and westernised (radio) histories, and as an outlet for feminist, queer, and speculative re-tellings of the past. History is viewed here in the same way as electromagnetic radiation: as matter to be untangled. Finally I use the garden radio art project Datscha Radio17 (Schaffner 2017) to give an overview of how radio can be implemented in an expanded way to examine many of the interconnected themes of this thesis: the anthropocene, radio art, ecology, human and more-than-human networks, listening, speculative storytelling, and disruption. This thesis is an explor

"RADIOPHRENIA is a temporary art radio station broadcasting intermittently from the Centre for Contemporary Arts in Glasgow. The broadcast schedule includes a series of 14 newly commissioned radio works, 13 Live-to-Air performances as well as live studio shows, screenings, shorts and pre-recorded features. As in previous years the majority of the programme will be made up from selections submitted to an international open call for sound art and radio works."

In this second interpretive video for "Living with Concepts," Norway-based artist Jana Winderen discusses the four-channel audio installation "Spring Bloom in the Marginal Ice Zone: From the Barents Sea to Lake Ontario": https://vimeo.com/613751409 Composed from field recordings in the Barents Sea along the marginal ice zone (an ecologically vulnerable, dynamic border between the open sea and the sea ice), Winderen's composition documents wildlife activities that all depend on the annual spring bloom: plankton, bearded seals, humpbacks and orcas, crustaceans and spawning cod. On UTM campus, these sounds connect the vulnerable ecologies of the Barents Sea with the seasonal rhythms of local forest ecologies, and the distressed waterways of Lake Ontario and the Credit River. "Spring Bloom" plays during daylight hours only. It is periodically shut off in response to seasonal ecological activity, determined in consultation with faculty in UTMBiology. See the Blackwood website for current playback conditions: https://www.blackwoodgallery.ca/program/living-with-concepts First presented in Mississauga by the Blackwood for "The Work of Wind: Air, Land, Sea," "Spring Bloom" is currently installed at the University of Toronto Mississauga campus, 2021-2024, as part of "Living with Concepts." Artwork storage and transport sponsored by Musket Transport Ltd. Video by Vuk Dragojevic.

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.

Synopsis: this bitter-sweet comedy tells the story of a man who suffers from hyper-acoustic sensitivity, which makes his life in Tel Aviv, one of the noisiest urban locations on earth, a living hell. His quest to live in peace and quiet by politely asking neighbors for basic consideration, or by addressing the boisterous passing-by to re-consider the mere fact they are 'not alone in the world', or even by trying to plea to the authorities: Police and Municipality - or even worse: talking the law into his own hands: all means have proved nothing but his bitter impotency in the face of the irrepressible Israeli "noise-mania". So he decides to act. He constructs a special surveillance apparatus in order to monitor and control the invading street-neighbor-noise, and with the help of a "God-like" megaphone he takes control over the intruding street noise. His fantasy to silence also the noise within his own family life, turns co-existence with him unbearable. It doesn't take long before it becomes inevitable that he would have to pay the price.

""Quintetto" is an installation based on the study of casual movement of objects or living creatures used as input for the production of sounds. The basic concept is to reveal what we call "invisible concerts" of everyday life.(The vertical movements of the 5 fishes in the acquariums is captured by a videocamera, that translates (through a computer software) their movements in digital sound signals.(We'll have 5 different musical instruments creating a totally unexpected live concert. The installation was born with the collaboration of the Aesop studio.(In 2009 Quintetto wins the third prize at the "International contemporary art prize-Celesteprize" - Berlin."

Black Quantum Futurism (BQF) is a new approach to living and experiencing reality by way of the manipulation of space-time in order to see into possible futures, and/or collapse space-time into a desired future in order to bring about that future's reality. This vision and practice derives its facets, tenets, and qualities from quantum physics and Black/African cultural traditions of consciousness, time, and space. Under a BQF intersectional time orientation, the past and future are not cut off from the present - both dimensions have influence over the whole of our lives, who we are and who we become at any particular point in space-time. Through various writing, music, film, visual art, and creative research projects, BQF Collective also explores personal, cultural, familial, and communal cycles of experience, and solutions for transforming negative cycles into positive ones using artistic and wholistic methods of healing. Our work focuses on recovery, collection, and preservation of communal memories, histories, and stories.

"Suzanne Ciani performs live quadraphonic modular synthesis from Envelop SF, a 32 speaker immersive audio venue in San Francisco. This event was originally live-streamed via Envelop Stream, in collaboration with The Audio Engineering Society in October 2020."

"Suzanne Ciani performs live quadraphonic modular synthesis at Envelop SF, a 32 speaker immersive audio venue in San Francisco. This event was originally live-streamed via Envelop Stream, in collaboration with The Audio Engineering Society in October 2020."

"WIZARD APPRENTICE (pronouns: she and/or they) is a music producer, live performer, and video artist. As a highly sensitive introvert, her multimedia projects are strategies for managing an overwhelming world. Her music is a combination of lyrical precision, minimalistic composition, and technically-amateurish charm. She creates media that takes advantage of user-friendly technology, skipping time consuming learning curves to focus on inventing highly relatable language for subtle personal experiences. She's not a gear-head, rather, a digital folk artist who vividly and simplistically expresses her inner world using resourcefulness and honesty. Her video work incorporates green screen graphics, digital puppetry, and compositing to produce imagery that's cerebral, campy, and hypnotic. She combines song and video to create multimedia live performances that explore intimate emotional themes."

"If you were to choose to watch live video composer and performer Ana Carvalho's work silent, your brain would be easily guided into a synesthetic experience, assigning sounds to each rhythmic change in color, pace, frame. Her images oscillate…they dance, they breathe. As you experience this, there might be a sense that you have lost your ability to hear the outside world, as these images are clearly attached to, woven with, a part of sound."

"For three centuries, farmers living in the remote mountains of northern Turkey have communicated great distances by whistling. It's a language called kuş dili that is still used to this day, though fewer people are learning it in the age of the cell phone. It's also known as bird language, for obvious reasons. Muazzez Köçek lives in Kuşköy, and she is the best whistler in her village. Muazzez shows us how she uses varied pitch frequencies and melodies to translate Turkish vocabulary into whistles with meaning. "

"During the Covid-19 pandemic, comparisons have often been drawn between lockdown measures and prison, yet people with lived experience of prison have countered that such domestic confinement bears little resemblance to the pains of imprisonment. These different viewpoints suggest that the general public has little understanding of what happens behind prison walls. This blogpost considers how prisoner writing can describe prison to the non-prisoner reader (i.e. a reader who does not have lived experience of prison), bearing witness to the carceral experience. Drawing on examples of short stories about prison, written by current or former prisoners, I examine how these writers recreate sensory aspects of prison in their writing. Carceral texts commonly recount the sights, sounds, touches, tastes and smells of prison; but, in my experience of reading and analysing prisoner writing, it is the depiction of prison sound that is most powerful and affecting. In this blogpost, I examine how prisoner-writers translate the speech and sounds of prison into written form, to convey the carceral experience to those outside prison walls."

"Soundtracks is about remembering sounds. Everyday of our lives we are confronted with sounds. They set the tone, the atmosphere for our daily lives. Yet when we remember the important moments of our lives, we never remember the sound. Our mind just doesn't work that way. We can close our eyes and picture the moment before us, but when asked to do the same with sound, things become more difficult. Sound works much more insidious, and when asked to remember a sound, to recreate it in our heads, we have to rely a lot more on our imagination, our crosslinks between feelings, thoughts and memories to attempt to hear it again. And by using that imagination, we explore what it was that made a certain sound special to us, and why it stuck with us."

"Thousands of species of fireflies all blink in different patterns, not only blinking in rhythms but simultaneously performing specific flight choreographies. The timing and pattern of their flashes are unique to each species. In Bioluminescence, I translated firefly behavior data from Prof. James E. Lloyd's Studies on the Flash Communication Systems of Photinus Fireflies into an orchestral piece. Rhythmic patterns of light and insect movement provide the material for both melodic and rhythmic figures. In biology, bioluminescence is the ability of living things to produce light through biochemical processes. Most bioluminescent organisms are found in the sea. The group of marine bioluminescent organisms includes fish, bacteria, and jellyfish. Some bioluminescent organisms, including fireflies and fungi, are found on land. Bioluminescence is used by creatures to make prey, defend themselves against predators, find mates, as well as for other vital activities. Recent studies show that the number of fireflies is declining. Light pollution from human-generated light disrupts insect courtship behavior because it can only occur in the dark. The artificial extension of daylight into the night disrupts the fireflies' dark-light cycles and thus their biological behavior."

"The inner sounds of objects and substances picked up with contact mics or hydrophones never cease to amaze. For Inner Out, Italian sound designer and artist Nicola Giannini uses contact mics frozen in ice, and performs a concert on them by playing the ice. Using different objects and techniques, such as grinding, tapping, hitting the ice, or pouring hot water, he creates the source material which he processes with live electronics to create a surround concert."

"Living under the paving stones, consuming our refuse, and incubating our diseases, the city rat is a ubiquitous part of global, urban capitalism. The revulsion rats inspire actually speaks of our closeness to them-rattus norvegicus burrows through the supposed human / nature divide. And just as we continually negotiate our place in a dynamic city, so have rats developed elaborate social codes intertwined with urban architecture and geography. We are not usually privy to the vocal address of one rat to another, however, as they primarily speak above the (20khz) threshold of human hearing. For Urban Intonation, I recorded rats at multiple sites on the streets of NYC with an ultrasonic microphone. I then resampled and pitch-shifted the result into the range of the human voice and mixed it for playback over a human public address system, repositioning rat noise in public space as something that is recognizable, if not intelligible, as speech. "

"Wayfindr, London's best shot at transport accessibility for the blind, was developed out of a couple's new year's resolution. Digital designer Umesh Pandya and his optometrist wife were looking at ways they could collaborate in 2014, while satisfying a deep-rooted desire to help blind people. "We wanted to help people living with sight loss," says Pandya, "My wife obviously deals with the diagnosis and prevention part of it, but I can't do the prevention because I'm not a scientist. I had an interest in accessibility work anyway, and I'm fascinated with the internet of things, connectivities, and exploring what happens when our interface disappears.""