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" Science of storytelling 5 identified specific sounds that filmmakers use to scare us in horror-thriller films. In this article, I will be revealing the science of how different sounds in horror-thriller films optimise engagement. The research findings are based on a 5-year scientific study of suspense and engagement in horror-thriller films. I will first summarise the film experiment research methods and how our brain responds to a fear stimulus through a chain of neurological processes that can be recorded and analysed. Finally, the research outcomes (highlights) describe how viewers physiologically responded to specific sounds in horror-thriller films, in terms of anxiety durability (time) and intensity (level)."

"Sculpture-situated within the sensibilities of space, embodiment, and the physical world-offers a richly speculative arena for experimentation with materials and technology. The continuing expansion of practices reminds us that sculpture no longer resides in a world of "things": contemporary physics now reformulates "solid" matter as process and flow, foundational concepts for art are now redefined or dismantled, and virtuality often stands in for the "real." The implementation of sound created by artists as sculpture has contributed robust tools and a new sense of identity for these changing boundaries. Yet while sound has become almost ubiquitous in contemporary art, it has garnered scant scholarship, and its artists are often neglected. "

"A true state of listening cannot be acquired by force. The order to listen - LISTEN! we all have heard and experienced it - guarantees a closing off, a turning away, a non-listening, possibly even a permanent disturbance in our once open and trusting listening channels. It is perceived like any sound that annoys, disrupts, hurts, or injures: we cringe, we try to block it out, might fight it, may want to get rid of it, but we will not listen. "

"Without stimulation and distraction, your brain need not focus and goes into a default mode of sorts. That doesn't mean it completely turns off. Quite the opposite. Your brain at rest will sort and gather information. This is where the self-reflection comes in.   Auditory stimulation forces your brain to process sound and listen to what's going on around you. Without that external noise, your brain is forced to listen to what's going on inside of it."

"From the beep of cardiac monitors to the blare of alarms, hospitals are often jarring places to be from an auditory perspective. And for patients, the combined dissonant sounds can become overwhelming and even run antithetical to the healing process."

The Song Books by the sound artist Rolf Julius (born in 1939) consist of several bound sheets of Japanese paper, of which each sheet is marked by a different kind of spot.[1] These red or black spots are prints of the processed photographs of color pigment clusters. Julius had already used these types of pigment clusters in earlier sound art installations, combining them with different sounds. There were similar sheets in his Piano Piece No. 1 (1998), whose title indicates that they can be performed musically.[2] It would hardly be possible to detect this solely on the basis of their visual form. According to Erhard Karkoschka, Julius's musical graphics can therefore be classified as pure musical graphics, that is, as musical graphics without a staff.[3] It must above all be stressed that musical graphics constitute individual solutions to problems with notation as perceived by an artist, and therefore stand out due to their different relationship to conventional notation. When interpreting musical graphics with so few parameters, which is the case for the Song Books, the performers have to develop a convincing translation for the ambiguous parameters. In the Song Books, the repetition of a similar form-in this case, the various spots-directs the performer's gaze toward minimal differences, such as the different sizes or fraying of the spots,[4] which are then translated into sound.

Kathy Hinde is an audiovisual artist inspired by behaviours and phenomena found in nature and the everyday expressed through audiovisual installations and performances that combine sound, sculpture, image and light. Composed of hand-made objects, electronics and a blend of digital and analogue systems, her work represents a cross between kinetic sound sculptures and newly invented instruments. She frequently works in collaboration with other practitioners and scientists and often actively involves the audience in the creative process.

"Urbanization has exposed people to extreme sound levels. Although researchers have investigated the ability of people to listen, analyze, and distinguish sound, the concept of noise has not been clearly articulated from a human perspective. The lack of knowledge on how people perceive noise limits our capacity to control it in a targeted manner. This study aimed to interpret the definition of noise from the public perspective based on a grounded theory approach. Seventy-eight participants were interviewed about noise, and four categories of perceived understanding of noise were identified: challenges, definitions of noise, opportunities, and action. As one of the challenges, urbanization is associated with increased noise levels around the human environment. In terms of definition, perceiving sound as noise is considered to be a result of the complex and dynamic process that includes sound, the environment, and humans. Sound and humans interact with the environment. In terms of opportunities, noise may have positive roles on certain occasions, dispelling the misconception that noise is exclusively negative. In addition, we found that noise perception has gradually shifted from noise control to noise utilization. In terms of action, noise can be controlled at the sound sources, susceptible target groups, susceptible behaviors and states, locations, and times where noise is perceived with high frequency. In this study, we investigated several aspects of noise, ranging from noise control, soundscape definition, and 'soundscape indices' (SSID) integration and application. Our findings provide an additional basis for developing better definitions, control, and utilization strategies of noise in the future, thereby improving the quality of the sound environment."

"Artificial synesthesia (syn = together, and aisthesis = perception in Greek) is a deliberately evoked or induced sensory joining in which the real information of one sense is accompanied by a perception in another sense through the use of a cross-modal mapping device. It is also known as virtual synesthesia or synthetic synesthesia. The additional perception is regarded by the trained synesthete as real, often outside the body, instead of imagined in the mind's eye. Its reality and vividness are what makes artificial synesthesia so interesting in its violation of conventional perception. Synesthesia in general is also fascinating because logically it should have been a product of the human brain, where the evolutionary trend has been for increasing coordination, mutual consistency and perceptual robustness in the processing of different sensory inputs."

"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

"The ground is in motion. GROUND acts as a LOOKING GLASS, as an AMPLIFIER for what we normally can´t perceive - tectonic plates are continously shifting … the permutations of landscapes constitute an infinite process of becoming… geosphere is a complex system that interferes with biosphere but also with anthroposphere, that part of the environment, that is made and modified by humans."

"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."

Cities and Memory is a global field recording & sound art work that records both the present reality of a place, but also its imagined, alternative counterpart - remixing the world, one sound at at time. very faithful field recording document on the sound map is accompanied by a reworking, a processing or an interpretation that imagines that place and time as somewhere else, somewhere new. The listener can choose to explore locations through their actual sounds, or explore interpretations of what those places could be - or to flip between the two different sound worlds at leisure.

"This webpage contains earthquake "sounds" created from seismic recordings around the world generated by the 2011/03/11 Mw9.0 Tohoku, Japan earthquake. They provide a unique way for us to listen to the vibration of the Earth that is otherwise inaudible to us, and to decipher the complicated earthquake physics and triggering processes. "

Cities and Memory is a sound project that attempts to record both the present reality of a place, but also its imagined, alternative counterpart - remixing the world, one sound at at time. Every faithful field recording document here is accompanied by a reworking, a processing or an interpretation that imagines that place and time as somewhere else, somewhere new. The listener can choose to explore locations through their actual sounds, or explore interpretations of what those places could be - or to flip between the two different sound worlds at leisure.

"During our recent Points of Listening public event held at the De La Warr Pavilion we conducted participatory experiments in care-ful listening. Through the workshop process we created collaborative manifestos, guidelines, protocols and imaginations of listening that help us to tune in and take care, to hear the inaudible and that which does not fit within expectations of language and recognisable sounds."