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"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."

Product Design and Electronic Music. Some very fun and far out ideas here. A jelly fish theremin!

"it's been proven that the right background noise can spur creativity and keep you motivated as well as increasing your focus. The new kid on the block, Noisli, is the perfect tool to help get you more productive in the comfort of your own home."

Improve focus and boost your productivity. Mix different sounds and create your perfect environment.

"In case you haven't been tracking the progress of group exhibitions of sound art, a short history would be: they are generally a disaster, with many works either impossible to hear adequately in the situation or impossible not to hear while you are trying to listen to something else. "It is in sound's nature to be free and uncontrollable and to go through the cracks and to go places where it's not supposed to go," as the sound artist Christian Marclay said, in an interview, in 2005. Meanwhile, the institutions that are devoted to art exhibition-galleries, museums-are all about placing art works where they intend them to stay. "I think it's great that there is this interest in sound and music," Marclay said. "But the over-all art-world structures are not yet ready for that, because sound requires different technology and different architecture to be presented.""

"Icelandic composer/cellist/choral arranger Hildur Guðnadóttir's was brought onto the show's production team in hopes of creating a score haunting enough to make viewers really feel the danger behind the spring 1986 catastrophe.... she used field recordings captured at a now-decommissioned power plant in Lithuania (where the series was filmed) to build the show's eerie and ominous soundtrack."

"Audio papers resemble the regular essay or the academic text in that they deal with a certain topic of interest, but presented in the form of an audio production. The audio paper is an extension of the written paper through its specific use of media, a sonic awareness of aesthetics and materiality, and creative approach towards communication. The audio paper is a performative format working together with an affective and elaborate understanding of language. It is an experiment embracing intellectual arguments and creative work, papers and performances, written scholarship and sonic aesthetics."

With an international campaign, people in need of hearing aids are demonstrated what wearing Phonak products can bring: the restoration of their full hearing potential. This was emphasized by real costumes that symbolize the colorful range of life sounds - each costume symbolizing a special delicate sound.

""stadt:klang - urban:sound" is an interdisciplinary art project at the threshold of architecture, music, video and performance art. It focuses on our existing interactions with various public spaces, and provokes a temporary shift in the perception of how we utilise them, particularly with relation to music creation, film production and peripheral related arts. "

Kathryn Walter is a Canadian artist who maintains a studio practice that intersects visual art, design and material culture. She operates the FELT studio as a laboratory to explore modern industrial felt through exhibitions, historical research, architectural commissions and a product line. Influenced by her background in sculpture, Walter has created a body of work ranging from intimate artworks to large-scale installations. She has collaborated with architects and created felt walls for residential, institutional and commercial sites including Google (Montreal), Red Bull (Toronto), The Museum of Tolerance (Los Angeles); and CUNY Law School and The New School (New York). Walter has shown her work in exhibitions at the Royal Ontario Museum (Toronto) and the Cooper Hewitt Nation Design Museum (New York). She received a BFA from Emily Carr College of Art and Design (Vancouver) and an MFA from Concordia University (Montreal). She lives and works in Toronto. www.feltstudio.com

""We found that ambient noise is an important antecedent for creative cognition," said Ravi Mehta, a professor of business administration at the University of Illinois. "A moderate level of noise not only enhances creative problem-solving but also leads to a greater adoption of innovative products in certain settings.""

""Quintetto" is an installation based on the study of casual movement of objects or living creatures used as input for the production of sounds. The basic concept is to reveal what we call "invisible concerts" of everyday life.(The vertical movements of the 5 fishes in the acquariums is captured by a videocamera, that translates (through a computer software) their movements in digital sound signals.(We'll have 5 different musical instruments creating a totally unexpected live concert. The installation was born with the collaboration of the Aesop studio.(In 2009 Quintetto wins the third prize at the "International contemporary art prize-Celesteprize" - Berlin."

"The SoundObject series captures the auditory component of making the ceramic objects. The work pairs sound and image as the final product. Each element of the project is documented and recorded with an iPhone. The intent is to view it on that scale. "

"This is a guest contribution by Jim Griffin, Senior Sound Designer at award-winning Soho-based audio post production facility Jungle Studios. Foley is probably the most fun and creative element of sound design - here, Jim looks at some of the lengths he has gone to creating great sound and offers his tips on Foley. "

"Pushing off from experiences in which music hails its listener in terms of communal belonging, this essay tries to productively shift our attention towards the queerness of sound itself, as both an agent and a solvent of the political experience of antagonism encountered when identification claims us (or fails to claim to us). Sound- not music but the raw immanence of sounds we cannot identify- can let us hear what is not yet locatable on the available maps of identity. Hearing the queerness of sound might help us echo-locate the edges of subjection, and encounter its ontological outside."

"Locus Sonus is a research group whose main aim is to explore the ever evolving relationship between sound, place and usage. Our methodology places artistic experimentation at the center of our research. Multidisciplinary theoretical approaches dialogue with, nourish and nurture this experimentation and the research sometimes (but not systematically) leads to artistic productions in the form of installations, performances, concerts and web-based projects. Beyond this, Locus Sonus regularly publishes research in recognized journals and takes on an editorial role for special issues. "

"Headphones are the norm. The new addiction replacing smoking, headphones frame the head and the perception of most urbanites today in some form or other. Whether commuting with an iPod, exercising to the radio, talking on a hands-free cellphone… or actually listening to music, headphones create a mobile and continually changing architecture that follows the listener, wrapping them in a private bubble. As the world rapidly interfaces, overlaps and confronts the boundaries of Private and Public through technologies and legislation, headphones become a quiet and invisible site of investigation. The audio tracks in this collection attempt to define a body of work that is fundamentally connected to the phenomenon of headphone listening. Some work was made specifically for headphones such as Bernhard Leitner or Janet Cardiff, other work was not originally composed for headphones, but when played over headphones a unique experience of the work is created-sometimes against the original intention of the artist or at least as a surprising by-product. While the most common thread between the works is the unique spatialisation of headphones, other attributes of headphone listening-such as intimacy and privacy-are also explored and included. "

"A sound art installation exploring the infamous Latin 'Lorem Ipsum' text, used in publishing and editorial contexts, which allows focusing only on the visual and graphical aspects of the product. If the human ear can be compared to a radio receiver that is able to decode electromagnetic waves and recode them as sound, the human voice may be compared to the radio transmitter in being able to translate sound into electromagnetic waves.  The characteristic role of language with respect to thought is not to create a material phonic means for expressing ideas, but to serve as a link between thought and sound."

"While we often think of soundwalks as engines of knowledge production, we must also consider that they may simultaneously silence divergent worldviews and perspectives of space and place."

THE SCHOOL OF SOUND began in 1998 as a single, four-day event aimed at exploring the creative use of sound in the arts and media, with a special emphasis on film and screen productions. It was responding to the limited opportunities to study sound, particularly for film. Our first event attracted over 200 people from 25 countries. The programme featured Walter Murch, Michel Chion, Piers Plowright, Mike Figgis, Laura Mulvey, Peter Kubelka and the Quay Brothers. Since then, the SOS has expanded its programme to include weekend seminars, intensive practical workshops, lectures, 'listening' events, consultancies for professional practitioners and, of course, the international symposium held every two years.