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Turn 4G network browsing into musical sounds A dedicated algorithm was created to turn one second of browsing on the 4G network into one second of music. The number of connections to the network in different regions of Lithuania controls the volume of the notes being played and their rhythmic distribution, while the amount of data transferred during those sessions determines the notes' pitches."

"A dedicated algorithm was created to turn one second of browsing on the 4G network into one second of music. The number of connections to the network in different regions of Lithuania controls the volume of the notes being played and their rhythmic distribution, while the amount of data transferred during those sessions determines the notes' pitches."

Not sure if anything ever became of this NYC pirate radio project: "THE THING in collaboration with r a d i o q u a l i a, and Jan Gerber started on May 5 2002 to build a radio network in NYC using internet audio (via wireless and wired connections) and miniFM. Initially the network will consist of 2-5 transmitters based around New York."

"The International Ambiances Network aims at structuring and developing the research field of architectural and urban ambiances. It wishes to promote the sensory domain in the questioning and design of lived space. This sensitive approach of the built environment involves all the senses (sound, light, odors, touch, heat,…). Such a network favors multisensoriality and pluridisciplinarity (human and social sciences ; architecture and urban planning ; engineering and applied physics). It is open to a wide variety of profiles and includes research activities as well as design, teaching or artistic ones."

"This 9-channel sound, light & smoke installation was created in collaboration with the independent sonic arts collective Call & Response, Sep 2015 London Subterraneous takes the work of seventeenth century alchemist and scientist Athanasius Kircher as inspiration. Kircher was a polymath and inventor, who researched fields as diverse as medicine and Egyptology, and designed and constructed wondrous sound and vision automatons. These included a collection of so called speaking statues whose spiral mouths would lead out into the streets of Rome like giant trumpets. In this way the speaking trumpets or 'hearing lens' would reveal the cacophony of Rome to the listener. London Subterraneous aims to link Kircher's 'speaking trumpets' with his fascination of geology and underground reverberations and find a way to explore London's mundus subterraneous For this project, special microphones have been used to access sounds from a series of "stink pipes" that connect the city's familiar terrestrial environment to a lesser-known complex network of sewers and rivers below. The towering, hollow pipes, now rusting fixtures dotted across London erected as safety valves to vent excess toxic gases along a newly built Victorian sewer network in the 1860's allow us to connect through our past and eavesdrop on the capital's underground world. The resultant exhibition is a portrait of some of the sounds created below ground and through the pipes themselves "Although these stink pipes are nowadays "useless" this work aims to reveal them as poles of sound, or as singing flutes. In a way these are tones from the past." Jacob Kirkegaard"

"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

"When did you last use radio technology? If you're straining to remember when you last turned on the AM/FM radio broadcast receiver in your car, you've probably gone too far back. Although it might not come to mind when we think about radio in the digital media era, things like GPS, wireless computer networks, and even our mobile phones use radio waves.  Far from being outdated, this century-old technology is still integral to much of what we do. "On the one hand, it's very ambient. We don't notice it," says Rick Prelinger, an archivist and professor emerit of film and digital media at the University of California, Santa Cruz. "But radio is also deeply engaged with the world." "

" MP3: The Meaning of a Format is, in many ways, the resolution of Diederichsen's story of the musical commodity. Sterne sees the MP3 as a format with the radical potential to model new forms of exchange, beyond the commodity. "

Radia is a network of independent radio stations who have a common interest in promoting and producing artworks for the radio, and in forming projects based on broadcasting and cultural exchange. We produce a weekly radio show that is broadcast by each of the member radio stations. Our shows represent the local artistic community of each station, whilst at the same time these new works point to an emergent collective notion of self-determined art for radio. radia.fm"

This project explores how innovative art projects on public urban screens can combine with electronic social network systems on smaller screens to initiate an international dialogue on the problem of adaptation to climate change. The main theme of this trans-disciplinary research is on the environmental and cultural significance of water in three cities in the Asia- Pacific region: Melbourne, Shanghai and Tokyo

"Cube with Magic Ribbons is a computer visual and synthesised sound composition for live performance. The piece takes its title from a drawing of M.C.Escher which is rich with contradictory perspectives but it is also inspired by the wrapped spaces found in the two dimensional graphics of early computer games such as Asteroids and Pac-Man. It was created using a custom visual sequencer SoundCircuit, which rather than employing a conventional DAW layout, allows multiple virtual tape-heads to travel through a two-dimensional wrapped space along tracks that can be freely inter-connected. As the tape-heads travel through the resultant network, the topological layout of the tracks comes to directly influence the macro form of the music. Furthermore, as the piece unfolds the nature of this already confusing space reveals itself to be increasingly elastic and complex, yet inexorably intertwined with the musical form."

"   "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.  "

"In the lineage of musique concrète, a composition created from recorded sounds rather than instrumentation and vocals, The Last Stand chronicles the lifespan of a 300-year-old White Oak from the years 1750 - 2050. The "Mother Tree" lives in Black Rock Forest, a nearly 4,000 acre diverse ecosystem in upstate New York. The story spans the Mother Tree's life from acorn to its "last stand," the final burst of life-giving energy a tree gives to its vast forest network before it dies. From the quotidian to the catastrophic, the sonic narrative spans elements that produce and hold life in nature. As the years unfold, the human impact on the forest becomes visceral: from the onset of settler colonial occupation to the physical and technological expansion of nearby United States Military Academy West Point, species disappear, storms intensify, and the drone of highways and planes becomes constant.  "

"Does the internet have a sound? Is it the whirring fan that keeps your computer from overheating? Is it a flurry of incessant notification pings? Is it the cackling laugh of Chewbacca Mom? Or is a monotonous drone, humming from an anonymous building where servers spin their disks and spit out information to millions of devices across a global network?"

None of the music on this website exists. But don't you wish it did? The reviews that make up this preview of EAR WAVE EVENT were created by a neural network fed and trained on contemporary music press. Inverting the normal flow of music criticism, we invite artists to use these reviews prescriptively - to create realizations of musics 'imagined' by a prosthetic mind.

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."

"Translocality seeks to unite human and nonhuman communities in the Bay Area socially, physically, and sonically as a living network of sentient beings. This open call invites applicants to propose soundscapes to activate sound art in Bay Area locations to: Recalibrate our sensitivity to living realities existing beyond the individual self Connect us to the complex weaving of stories, histories, and ecologies of place Investigate vestiges of memory materialized through objects, land, and architecture Imagine future possibilities for collective transformation in the SF Bay Area"

Soundcities was the first online open source database of city sounds and soundmaps from around the world, using found sounds and field recording. There are now thousands of sounds from around the world on the website. The concept started in 1995 with various iterations. In 1996 Stanza devised the term soundmaps and initiated the various works that developed into soundcities.com. Stanza's interactive soundmaps have been online since 2000 and the Soundcities database since 2004. This project allows the audience the possibility to remix the hundreds of samples recorded from cities around the world in an online database. The sounds can be listened to, used in performances on laptops, or played on mobiles via wireless networks. The Database is also open so anyone can upload sounds they collect from world cities, thereby making a contribution to the project and making an online sounds archive.

"They grow in secret and yet form the largest living organisms in the world: mycelia, the subterranean filament of fungi. In this, the sound artist Antye Greie-Ripatti {AGF} sees a metaphor for political activism in the age of the Internet. Here, too, small cells are interlacing in the subsurface to effect the greater. For her radio composition "Mycelium" Greie-Ripatti therefore sonifies the vital functions of fungi and contrasts them with voices of activists from all over the world. This creates a multi-lingual sound network, which transports a quiet but sustainable utopia: Together we are strong."

the French artist Karine Bonneval was an artist in residence in a lab that focused on soil biodiversity. One of the questions she asked the scientists was "What sounds do fungi make as they grow through soil?"