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"In 1999, composer/sound artist Steve Peters undertook a project at The Land, a venue for site-specific environmental art in the high desert of central New Mexico. Wishing to develop an intimate relationship with the site rather than impose his own noise upon it, he devoted himself to the act of listening to the sounds that were there during each hour of the day and night over the course of one year. Spanning the disciplines of acoustic ecology, environmental and performance art, poetry, sculpture, installation, and contemplative practice, Here*ings documents that experience of immersion in a particular landscape, examining the gradual process of becoming connected with Place. In sharing his findings, Peters encourages us to offer our own attention to the subtle poetry that surrounds us. His work reminds us that, beneath the surface of the commonplace, the extraordinary lies waiting to be revealed."

"Evolving out of experimental art series The Hibernation Project, EARS HAVE EYES is an auditory exhibition space for sound art on the radio. Local, national, and international artists and musicians are welcome to submit their work, sharing spatial soundscapes, auditory aesthetics, spoken word, noise, poetry, experimental compositions, thematic interviews, and other recorded media on the radio waves across Treaty 7 Territory in Southern Alberta - and beyond."

"Vera Wyse Munro (1897-1966) was a pioneering New Zealand radio broadcaster, improviser, and experimental sound artist. As an artist, her primary media were amateur radio broadcasts, Morse poetry, and sono-topographical scores. Via her broadcasts, which were frequently received by amateur radio operators as far afield as the United States and Europe, Munro initiated some of the earliest telematic performances, in which she would perform prepared violin in structured improvisations with other musicians broadcasting from elsewhere in the world. Munro's work was often necessarily clandestine, as a result of legislation curbing amateur radio activity in New Zealand. As a result of this, as well as the absence of extant documentation of her live and ephemeral practice, Munro's work has been largely overlooked in New Zealand's cultural history."

"SEE SOUND AS MOVING LINES OF LIGHT "The word accelerated loses its identity and becomes a pattern pregnant with energy. It is pregnant with the energy of its potential meaning should it once again become a word.""

"Artist Julianne Swartz presents a sound installation, Digital Empathy, which greets High Line visitors with a variety of messages. At some sites, computer-generated voices speak messages of concern, support, and love, intermingled with pragmatic information. In other sites, those same digitized voices recite poetry and sing love songs to park visitors."

"Lead poisoning can stunt my growth / And mess with my mind / We would like help if you don't mind. Rather than water, words from poet Ken Silas, a student at Carman-Ainsworth High School in Flint, Michigan, flowed through a copper pipe and out of the faucet I'd just turned on, bearing my introduction to Beyond Streaming: A Sound Mural for Flint, conceived by artist Jan Tichy."

This is an article about wind, dust, and their relations to life. It is a meditation on the liveliness of wind and airborne particles as they are experienced on the ground; in cultural texts including film, poetry, and oral history; and in the medium of satellite imagery. In dialogue with recent work in the social sciences and humanities that demonstrates how air and dust from the "South" are treated as foreign "intrusions" into Europe, this article proposes a focus on wind's animacies to further probe and nuance these claims. Situated primarily in Italy and the Balkans, two places where the author has familial relations and, in the case of the Balkans, deep ancestral history, the animacies of wind are examined specifically in relation to Scirocco and Jugo, two interrelated southerly winds commonly blowing in spring and autumn that sometimes bring "Saharan dust" to Europe. As a framework and scaffold, the article draws from Mel Chen's notion of "differential animacies": the ways animacy is bestowed on humans, animals, elements, and objects in hierarchies that are both revealing and "leaky." Exploring the animacies of Scirocco and Jugo shows how the wind acts as a force of de/humanization, as agency leaking across borders of life and nonlife, and as shape-shifting coauthor of collective memory.

"M.A.P // A.M.P Music Library aims to create a repository of activist music, which will serve as an archive to amplify the reach of music as an expression and a tool of social and political activism. This library is an effort to bring together such voices from the region that may have gone unheard. In the process, we hope to create a rich and diverse range of activist music that will span all genres and generations of music and poetry."

A personal essay about hearing loss, disability, the amplification of the sound of one's body, the way that hearing and mishearing leads to metaphor, and the losses and gains of disability as well as normative sensing.

"With The Clearing, composer, producer, multi-instrumentalist, and writer JJJJJerome Ellis establishes a new metaphor that frames speech dysfluency-stuttering in particular-as a space for possibility rather than a pathology."

"Turning Towards a Radical Listening is an immersive audio-visual metaphor in which an audience is asked to reconcile how their sonic experience is represented, documented, given language and transcribed by AI algorithms over the course of apx. 70 minutes. The resulting nonsense concrete poem demands consideration of how we exist between input and output-holding space for us to tune into what can be lost in translation. "