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"A recent study revealed the neurological mechanisms behind our processing and reactions to unpleasant sounds. As always, the science behind this proves to be fascinating, and occasionally surreal"

"ernoudt Jacobs is an artist fascinated with sound in all its forms and possible expressions. He collects fields recordings around the world but he also creates installations based on Bell's photoacoustic effect that reveals the sonority of any material hit with a strong beam of light, builds sound microscope that magnifies the freezing and melting process of water or suspends coils, magnets and 1000 tin cans into the air to play with the laws of electromagnetic induction and generate tiny vibrations that produce sounds. It is as if everything in the visible and the invisible world provides him with endless opportunities for sound exploration. "

"A tree's year rings are analysed for their strength, thickness and rate of growth. This data serves as basis for a generative process that outputs piano music. It is mapped to a scale which is again defined by the overall appearance of the wood (ranging from dark to light and from strong texture to light texture). The foundation for the music is certainly found in the defined ruleset of programming and hardware setup, but the data acquired from every tree interprets this ruleset very differently."

"The radiofrequency spectrum is at the heart of telecommunications, used by police, emergency personnel and public transport services, as well as the armed forces. Every day, this spectrum ensures the proper functioning of mobile phones and wireless devices. Seen as an essential resource by some and as a health hazard by others, the electromagnetic fields generated by radiofrequency spectrum activity have multiplied exponentially since humans first learned to harness electricity. In his Electrosmog series, Jean-Pierre Aubé searches out ambient radio frequency activity in the urban landscape of Montréal, which for Aubé forms a singular territory, characterized by its density in the city and by the political and economic issues that accompany it. Equipped with a radio, an antenna, and home-made software, the artist sweeps the titular spectrum of radio frequencies. Every tenth of a second, the device takes a snapshot of its readings - a measure of electromagnetic activity on a specific frequency. This information is then paired with images of Montréal, digitally altered by these same measurements, to create a "documentary in sound" of the city's spaces. Montréal, well-known to the artist after years of radiofrequency experiments here, is the eighth city in which Aubé has measured and visually presented this urban Electrosmog. Electrosmog, Montréal, 01.1 MHz - 144 MHz, 2012 Text from the CCA and Elektra - video abstract original length : 11 minutes - built with Processing"

"Listen to the sounds of deterioration and decay as the sound is transformed into something else for this episode. Hear Brooklyn composer William Basinski and a portion of his mammoth work, "Disintegration Loops" - a project based on very old tape loops from the 1980's. The tape itself was disintegrating, and tape gunk would come off on the playback head, but Basinski allowed the loops to play continuously while he recorded them digitally, capturing the process of the music's demise. "

"Andante" was created by MIT's Tangible Media Group as a way to promote an understanding of the way that music is rooted in the body, an experience that transcends more than just the ears. The group, led by Professor Hiroshi Ishii, gives physical form to abstract digital information, providing delightful visuals to more complicated processes."

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

"Interview with Robert Dudzic August 9, 2018 by Jim Stout Leave a Comment I recently had the privilege to speak with Robert Dudzic and, during the course of our casual discussion, we touched on topics such as his thoughts on the creative process, how to gain access to sites and the power of inspiration."

"Although the transformation of the functional state of the living organism into sound was an important dimension of the work, the artists and designers were also interested in looking at the processes and authoritative gestures that legitimise the collection of personal information and how informed consent is attained and defined. In the age of the quantified self, what does it mean to donate biological data? How much does it (or should it) matter to us that we can keep control over it? Does this biological data have more value for us than other types of data?"

"But can you actually hear something that does not emit a sound? Certainly, said Chris Plack, a professor of audiology at the Manchester Centre for Audiology and Deafness, who researches acoustic reflexes and auditory processing. "Hearing," as he defines it, does not require external noise; rather, it is "having the experience of a sound.""

"Robertina Šebjanič is one of those rare artists who brings as much attention to the aesthetics and concepts behind her artworks as to the meticulous scientific research that sustains them. Her installations, sound experiments and performances invite us to reflect upon our relationship as human beings with the rest of the world. Over the past few years, she has been collaborating with scientists, hackers, thinkers and other artists to explore themes such as interspecies communication, underwater sound pollution, the possible coexistence of animals and machines, chemical processes, the origin of life, etc. "

"ELECTROCHROMA is a 58ʼ30" audiovisual work that emerged from the manipulation of light to generate imagery as well as using a combination of extended techniques applied to sonic-material sources, including translation of image to sound to create the 5.1 surround audio composition. The work utilizes various analog and digital procedures and a variety of software processes to manipulate the moving image and sound. The workʼs imagery ranges from dark to light monochromatic spheres, shifting dynamics and intensity, including flickering and pulsating patterns, retinal impact, and sensory overloads. The sound composition focuses on timbre, low ends, modulated frequencies, textures, static noises, and electronic sounds moving through space. Other sonic layers were created through the use of electromagnetism, custom electronic sounds, and voices scored for the work and performed in a recording studio by artist Marylea Martha Quintana."

"Manual for Acoustic Planning and Urban Sound Design (MAP) is a public artwork based on working for one year within the city council in the experimental role of Dublin City Acoustic Planner & Urban Sound Designer, negotiating the projects' agenda and workflow in response to how this concept is received internally within the council. This project emphasizes a dematerialized practice through which practical outputs (in the form of public sound installations) emerge as residual artifacts that are encountered as design prototypes executed within (or even by) the council itself. This approach opens new channels for the city - as an institution - to engender a sense of responsibility and possibility regarding this mode of working with sound in the urban context as an extension of existing planning and design processes."

"Visual Record: The Materiality of Sound in Print investigates how artists since the 1970s have employed print-based processes to examine the relationship between sound and its visual representation. The exhibition features 15 artists, including Terry Adkins, John Cage, Bethany Collins, Christian Marclay, Glenn Ligon, Dario Robleto, and Audra Wolowiec, among others. "

"Darius Marder's Oscar-nominated film is less about the Deaf community than about the process of losing a sense inextricably tied to one's identity."

"We recover these wonderful images of the creation process of sound effects in Disney's early movies. "

"Rather than perceiving the world in real time, we're actually experiencing a memory of that perception. That is, our unconscious minds filter and process the world under the hood, and often make split-second decisions. When we become aware of those perceptions and decisions-that is, once they've risen to the level of consciousness-we're actually experiencing "memories of those unconscious decisions and actions," the authors explained. "

"The Sonic Bikes "The Marja Trio" are an artwork by Kaffe Matthews made with Hai Art for Hailuoto in May 2013. http://www.kaffematthews.net/ The bikes are a musical instruments playing 'The Marja trio', a specially made music for the Marjaniemi harbor and boardwalk path to Sumppu. The piece was made by Matthews during a 10 day Artist-in-Residence period in which she made recordings of the area including the three Marja turbines and lighthouse mast, and along with various digital synthesis techniques processed them into musical fragments. Inspired by the changing harmonies of the area, she linked and layered these fragments to different spots and zones, so that a visitor, when cycling one of the sonic bikes around, will trigger and so hear them play. The cyclist recreates the composition."

"Non-Human Rhythms 1 is the first of a series of live recordings featuring different micro-organism and there bio-electrical activity translated in to a sound process. In this release listen to 30 minutes of signal originated in bacterial fuel cells. "

"Sampling is a production tool that is fundamental to electronic music. A seemingly simple act - taking small bits of prerecorded sound, often from an existing composition, and incorporating them into a new piece of music - has in the past few decades proven to be a revolutionary cultural force. An essential element for the development of hip-hop in the 1980s, as well as for electronic music scenes concurrently taking shape around the world, sampling helped lower the barrier of entry for potential music makers: No longer did a producer need studio access or a group of musicians to make full and rich productions. Instead, they could dig for loops and breaks from a wealth of existing material and use the pieces they found to create new compositions. The process also allowed the artists to insert themselves into a different type of musical timeline, traversing and connecting decades of sounds in a way that would have been impossible before the dawn of sampling."