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"Spring with Machine Age Noise No 1 was painted by Graves in 1957. It is among the first in a series of similar works all made that same year by Graves (see also Spring with Machine Age Noise No 3 1957, collection of Nancy Lassalle, New York; reproduced in Kass 1983, p.132). The artist had returned to his home in Woodway, Seattle, late in 1956 following a two-year period in the remote Irish countryside. He was upset to discover that the previously peaceful landscape was now regularly disrupted by the noise of construction work and of jet planes flying overhead. This was his motivation to paint a series of pictures in which the natural landscape was set in contrast to the disturbing vibrations of mechanical noise that now shattered the peacefulness of the scene. "

"This Sonic Constellation Compilation is part of the ongoing series: WAYBACK SOUND MACHINE, A CONSTELLATION OF SOUNDING TIME, which asks What can we gather from sounding the past-and with that in mind, what is the relationship between soundscape and sound design? This is Part One of a three part series-within-the-series, that shares various artistic forms, and some text, of/on sound from the past, and designing and composing sound for the past."

"The following is writing from an earlier time in my recent research project, Wayback Sound Machine: Sound through time, space, and place. It felt an appropriate beginning to share here as the first part of the ongoing series, "Wayback Sound Machine- a constellation of sounding time", that will be exploring various works and writings approaching the concept of sound back through time. I will be publishing the call for work shortly, and hope to hear from some of you Sonic Field readers. "

"The Manhattan Rhythm Machine is an interactive generative beat maker. Loops for each instrument are represented with cut up segments of a circle. These are moved through a two dimensional space of rhythms with axes of edginess and density which are mapped to rhythms through a beat hierarchy derived from how off-beat each position in the bar is."

"The Music Construction Machine is a large, public, generative music box, which people can operate via a big hand crank. The project is on public display in the Goethe-Institut Pop Up Pavillion in Wroclaw, Poland, as part of the cultural capital program."

"A marching machine is a percussion instrument designed to produce the sound of marching feet when played on a wooden or metal surface.[1] It is constructed from a number of short pieces of wooden dowel suspended by string netting within a wooden frame.[2]"

"An open source research project exploring the role of machine learning as a tool in the creative process."

"Given light, space, electricity, and a stack of discarded electronics, Thessia Machado will make music. For more than a decade, the sound artist has been building her own instruments with found and modified parts-old speakers, circuit boards, fax machines-intent on broadening the dimensions of sound and sound-making. Unlike traditional instruments, Machado's creations and installations generate sounds triggered by atmospheric factors such as light, movement, and electromagnetic waves. They harness and marshal the ambience, audibly expressing their environments. "These sounds that [were] not there, are now there," she says. And sound, she adds, is "basically air that's organized.""

"The project - which involves large-scale noise monitoring - leverages the latest in machine learning technology, big data analysis, and citizen science reporting to more effectively monitor, analyze, and mitigate urban noise pollution. Known as Sounds of New York City (SONYC), this multi-year project has received a $4.6 million grant from the National Science Foundation and has the support of City health and environmental agencies."

"With work that is a delightful mix of archaic technologies, Aura Satz explores the complex marriage of human and machine and the uncertainty it engenders in bodily awareness and human agency. "

"We are a nomadic multispecies collectivity experimenting in the intersection between art and science. We embrace hybridized practices among different disciplines and living organisms, open knowledge and precarity as a challenge.Our current lines of research are based in the use of sound to understand the bioelectrical activity of different bacterial consortiums, plants, slime molds and humans using DIY and custom-made sets of hardware we call ontological machines. "

"Sound has no center. Unlike vision, sound wraps around you, comes and goes, is fleeting. In the online exhibition SOUND MACHINES, seven artists explore the strange world of sound through new technologies. Their works cross optical and aural domains, creating new interfaces between the realms of sound, technology, and art."

"In 1978, Brian Eno released Ambient 1: Music for Airports, a landmark album in ambient and electronic music. Although it wasn't the first ambient album by any means, it was the first album explicitly released as an 'ambient music album'. The album was essentially a continuation of Eno's experimentation with the tape machine as a compositional tool, as well as his exploration of generative music, music created by systems. In this article I'll discuss how Music for Airports was created, I'll break down and recreate the tracks 2/1 and 1/2, and hopefully give you some ideas about how to adopt this approach yourself."

"Kyoka, the innovative producer and artist (Raster-Noton), has electrodes attached to her head with good reason. In collaboration with neurologists, she's exploring the power of sound in mood and thought. She talks to us on the eve of a premiere at Berlin's Signals Festival."

"The 10-second recording of a singer crooning the folk song "Au Clair de la Lune" was discovered earlier this month in an archive in Paris by a group of American audio historians. It was made, the researchers say, on April 9, 1860, on a phonautograph, a machine designed to record sounds visually, not to play them back. But the phonautograph recording, or phonautogram, was made playable — converted from squiggles on paper to sound — by scientists at the Lawrence Berkeley National Laboratory in Berkeley, Calif."

"Creative Time presents Playing the Building, a 9,000-square-foot, interactive, site-specific installation by renowned artist David Byrne. The artist transforms the interior of the landmark Battery Maritime Building in Lower Manhattan into a massive sound sculpture that all visitors are invited to sit and "play." The project consists of a retrofitted antique organ, placed in the center of the building's cavernous second-floor gallery, that controls a series of devices attached to its structural features-metal beams, plumbing, electrical conduits, and heating and water pipes. These machines vibrate, strike, and blow across the building's elements, triggering unique harmonics and producing finely tuned sounds. "

"Some of the hottest tracks on digital playlists: sounds of an oscillating fan, a waterfall and crickets. White noise and other soothing sounds, once mainly played on machines to aid nighttime sleep, are increasingly helping make daytime hours more serene. When played through headphones, the sounds help people tune out chatty co-workers, pounding jackhammers and the dentist's drill. "

"A tapping machine used in tests to evaluate the ability of floor coverings to reduce the transmission of impact sound from one floor to another in multi-family dwellings." Courtesy of the National Research Council Canada/Conseil national de recherches Canada."

"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."