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"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."

"Human Sound Objects is an interactive installation in which every participant becomes an object in an ever-evolving soundscape. By Giori Politi, Doron Assayas Terre and Eran Hilleli Herzliya Museum of Contemporary Art, 2016"

"Spectroscapes explore music as physical models that are generated from the signal strength of frequencies present in the waveform of an individual song."

"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."

"Museum of Sound is a project held in National Museum in Krakow consisting of various actions using sound. We are used to watching art in museums, perceiving it though sight. We forget how important it is to listen to it. Sound can extract unusual stories and revive objects. The first element of the project is Sound Microscope - an interactive sound installation open from March 2013 in the Gallery of Decorative Art in the Main Building of National Museum in Krakow, 1st floor. National Museum's Gallery of Decorative Art is the biggest exposition in Poland - it shows everyday life in Poland and Western Europe from the early Middle Ages up until Art Nouveau. Exhibits that so far have been locked in cabinets have now gained new life thanks to Museum of Sound project. Now, visiting a museum consists of not only watching objects from the past, but also listening to their story."

Interface: Listening to music through your teeth. 12/13/11 Play-A-Grill is the combination of a digital music player and the mouth piece jewelry usually associated with Hip Hop and Rap music genres known as a grill. Grills are almost always made of precious metal, most notably gold or platinum. They are completely removable, and almost used as a retainer. This piece of jewelry presents a perfect opportunity to merge an arbitrary music fashion object and reintroduce it as the music player itself. Because the grill is worn over the teeth, sound can be transmitted using bone conduction hearing instead of outside speakers or headphones. Play-A-Grill is an iteration of a music fashion object of that becomes the music player itself.

Vibrations conducted through a person's bones produce the uncanny sensation of low sounds emanating from within the body. The New York-based artist Sergei Tcherepnin draws on this effect in Stereo Classroom Chairs (2015), mounting a transducer to the underside of each wooden seat on which visitors are invited to sit. When not attached, a transducer plays sounds quietly, at a level that is almost inaudible. When its surface touches another object, however, the material characteristics of that object filter the sounds in various ways. Here, Tcherepnin's audio composition travels through the body of each sitter with a physical intensity. The chair amplifies the composition, while the sitter acts as the filter, amplifying low-frequency sounds and muffling higher frequencies.

"Sound as Color is an exploration in converting audible frequencies to electromagnetic waves perceptible to human eye relative to that of the audible frequency range of the input sound signal."

"Conceptualizing sound in geologic terms is a daunting task. Both the geologic and the sonic are time-based media, defined by duration. Yet sound speaks in milliseconds, the geologic in eons. They exist in different time zones. So, given this conundrum, instead of considering how to measure sound within a geologic scale, perhaps we are better served to ask: What do geologic materials sound like or, more precisely, what do geologic materials hear? This latter question might seem ridiculously anthropomorphic, given that we are talking about material objects. So let us first consider what exactly sound and hearing are."

"The possibility that sounds might be objects, entities, or things is an open question.  However, many theories of sound close the question down via reductive assertions. Some argue that sounds cannot be things because things are autonomous entities whereas sounds are relative. Others argue that sounds cannot be things because things are durable bodies whereas sounds are temporal phenomena. The following essay begins by reviewing and critiquing these arguments as they appear in musicology, sound studies, and philosophy.  Arguments against sound's autonomy are generally motivated by anthropocentric ideologies, which by presuming humans' ontological privilege reduce sounds to human experiences, practices, and conditions.  "

"When one thinks of his work, what comes to mind are not so much objects, stable and defined. Rather, these are "moods" or "atmospheres" or "situations." "Ecosystems," in which things and places are enveloped in sounds."

"Discrete Archive was created for music, writing and artefacts that explore quietness. This can mean many things, we like music that allows for space, presents sonority as object and is concerned with the materiality of sound, sound as thing. We occupy a world of noise, discerning meaning in this sea of noise is increasingly difficult.  We invite you to contemplate the world around you through stillness and quiet that sound can provide a focus for. "

"BLIND people often substitute sound for sight, and some can even use echolocation to steer around objects. But it turns out that sound can be tailored to convey visual information. That phenomenon is now being used to help build better navigation aids for blind people."

"Audible Inaudible is a term keyed by ethnomusicologist Martin J Daughtry where the violent sounds of war become muted by its auditors as a mechanism for survival. I have multiple memories that involve the terrifying sound of the air raid siren so I started the research in how to translate a sonic memory into object. This lead me to Martin's a book titled "Listening to War, Sound, Music and Survival in Wartime Iraq" where he describes an interview with a mother shielding her children from the violent sounds of war by holding them tight and pressing her arms against their ears. Her body, her flesh then acted as a perfect, natural micro environment to protect her children. I wanted to mimic this concept of "flesh as defense" so I introduced pyramid acoustic foam in the paintings; a material that "detains" sound. I started surgically cutting my linen and pushing the foam through it from the back. As it was penetrating the surface I felt as if I was conducting an operation of resistance. These calculated cuts and wounds were enabling the painting to breathe. Inhaling and exhaling it was reacting, resisting, defending and accepting these sonic wounds."

"today there are various sophisticated methods to locate sound (acoustic camera, methods of acoustic holography, microphone arrays), but known visualizations by spectrograms still strongly remind of thermographic images. acoustic shapes, unlike thermographic ones, differ from the contour of the measured object. image overlays make it even more difficult to read and compare the results."

"Music for Forgotten Places sends city residents out into their neighborhoods on a strange journey of exploration and discovery. Located at various forgotten sites are small, hand-made wooden signs, each engraved with a title and a phone number. Upon discovering this mysterious object, explorers can call the number and hear a piece of music composed especially for that place."

"Soundwalking Interactions is a research-creation project led by Dr. Andra McCartney, Associate Professor in the Department of Communication Studies, Concordia University. This project is financially supported by the FQRSC. The objective of the project is to explore the use of soundwalks and interactive installations to engage audiences and raise issues about various locations and their histories. "

"The American Loren Chasse is one of the most important international artists, connected to the environment/sound relation. His abilities to listen and to transform the object in "musical instrument" are some of the most identifying features of his work. "

"Sound designer and composer Diego Stocco (warning: lots of sound) continues his ongoing project of making music from uncommon objects and places with this new video using loops recorded from a local dry cleaner. Stocco has also made music from a tree, from sand, and even a a bonsai, among others. Of all of them I really think this is his finest. Make sure you make it past the 2:10 mark."