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"The conception of these soundscapes stems from a deep love of history that I have had since childhood. The idea of recreating the sound of the past in a way that was meaningful to modern listeners provided me with a creative challenge. My aim was to tell a story solely through sound while simultaneously presenting an authentic and valid interpretation of a group of people at a specific point in time."

"Gordon Hempton is the type of person who gets into something and doesn't let it go. As an acoustic ecologist, most of his obsessions are sounds. Specifically, natural ones. Hempton's been on a crusade for years to highlight the sonic beauty of the natural world, and draw attention to the fact that we're slowly letting that beauty disappear in a sea of noise pollution. Along the way, he picked up a mentor who has helped inspire him and open his ears to nature: naturalist Jon Muir. Though he's been dead for more than 103 years, Muir has helped guide Hempton, who has walked in his steps literally and figuratively."

"As our environments change, so too do the sounds they make - and this change in soundscape can affect us in a whole host of ways, from our wellbeing to the way we think about conservation. In this Podcast Extra we hear from one researcher, Simon Butler, who is combining citizen science data with technology to recreate soundscapes lost to the past. Butler hopes to better understand how soundscapes change in response to changes in the environment, and use this to look forward to the soundscapes of the future. "

"O'Daniel has worn hearing aids since she was 3. The ones she has now are digital, and sometimes they give her a heightened sense of sound: A car engine hum becomes earsplitting. Within daily experiences of frustration, and I do a lot of compensating, there's also this kind of radical, heightened attention," O'Daniel said. "And that mix, I find just fascinating. O'Daniel has spent most of her art career focused on recreating those jarring sounds.

How does one remember a sound? Why does one remember a sound? We remember things visually. Close your eyes and you can perfectly picture that one magnificent view you've seen a couple of years ago. But try to do that with a sound, to recreate that sound in your head, and…. it suddenly becomes a whole lot more difficult.

"The 80-acre green space is the Buitenschot Land Art Park. Its trenches and ridges hold bike paths and sports fields, but these recreational features are a bonus. Its main purpose is to deflect ground noise, the low-frequency drone that planes make when they take off and land."

As there are no images of Saydnaya, we were dependent on the memories of survivors to recreate what happened inside. Using architectural and acoustic modelling, we helped witnesses reconstruct the architecture of the prison and their experiences of detention.

"Arup and BLOXAS Architects collaborated on a soundscape installation to demonstrate what our everyday environment might sound like to a dementia sufferer."

"Sound Garden is a 16 inch high, 15 foot square platform of wood squares that recreates a section of a gymnasium floor, or a high-finish dance floor. The parquet is framed by a three foot wide planter of white pansies in full bloom. Suspended above the platform, in the manner of a public address system, are four out-sized black speakers. The speakers emit a three-phase, four-track audio component of verbal instructions for dance routines, the bouncing of a basketball on the floor of the gymnasium, tap dancing and the swiping of an eraser on a blackboard. The work thus takes the form of a rather peculiar hybrid structure with visual, auditory and olfactory dimensions."

"The work features the televised footage of Floyd Mayweather and Manny Pacquiao's highly publicized and most lucrative boxing match at the MGM Grand, Las Vegas, in May 2015, billed as "The Fight of the Century". Removing the fight's original audio.A second video channel shows the sound technicians, the Foley artists, as they distill and recreate these sound effects in their studio using a myriad of props. Mirroring the boxers' athleticism and focus, the Foley channel plays in sync with the fight channel, each placed on opposing sides in the gallery space."

"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."

"Here's a fun bit: a foley artist recreating and accentuating the sounds of everyday life, transforming a shower into hand tossing spaghetti while making coffee can be blowing bubbles in a milkshake with a swirly straw. The imagination of sounds gets more and more ridiculous which results in more and more fun. Presented by Nowness and directed by Oliver Holms, it's basically sound design for life."

"During the Covid-19 pandemic, comparisons have often been drawn between lockdown measures and prison, yet people with lived experience of prison have countered that such domestic confinement bears little resemblance to the pains of imprisonment. These different viewpoints suggest that the general public has little understanding of what happens behind prison walls. This blogpost considers how prisoner writing can describe prison to the non-prisoner reader (i.e. a reader who does not have lived experience of prison), bearing witness to the carceral experience. Drawing on examples of short stories about prison, written by current or former prisoners, I examine how these writers recreate sensory aspects of prison in their writing. Carceral texts commonly recount the sights, sounds, touches, tastes and smells of prison; but, in my experience of reading and analysing prisoner writing, it is the depiction of prison sound that is most powerful and affecting. In this blogpost, I examine how prisoner-writers translate the speech and sounds of prison into written form, to convey the carceral experience to those outside prison walls."

"Henrik Håkansson (b. 1968 Sweden) devotes his work to studying the complex connections between humans and nature. He carefully constructs environmental experiments that ask participants to explore their impact on the environment that surrounds them, such as in the installation Frog For e.s.t. (eternal sonic trance) (1995). This piece consisted of a room filled with inflatable pools, humidifiers, insects, frogs, strobe lights, and a DJ mixing techno music on site. Projects like Frog For e.s.t. examine the intrusion of human artifice on the environment: what happens when we attempt to recreate delicate ecological systems? What are the effects of human-made sounds replacing the natural soundscape?"

"In 1978, Brian Eno released Ambient 1: Music for Airports, a landmark album in ambient and electronic music. Although it wasn't the first ambient album by any means, it was the first album explicitly released as an 'ambient music album'. The album was essentially a continuation of Eno's experimentation with the tape machine as a compositional tool, as well as his exploration of generative music, music created by systems. In this article I'll discuss how Music for Airports was created, I'll break down and recreate the tracks 2/1 and 1/2, and hopefully give you some ideas about how to adopt this approach yourself."

"Soundtracks is about remembering sounds. Everyday of our lives we are confronted with sounds. They set the tone, the atmosphere for our daily lives. Yet when we remember the important moments of our lives, we never remember the sound. Our mind just doesn't work that way. We can close our eyes and picture the moment before us, but when asked to do the same with sound, things become more difficult. Sound works much more insidious, and when asked to remember a sound, to recreate it in our heads, we have to rely a lot more on our imagination, our crosslinks between feelings, thoughts and memories to attempt to hear it again. And by using that imagination, we explore what it was that made a certain sound special to us, and why it stuck with us."

"Close your eyes for a moment and listen to the space you are in. From my chair, I can hear the rhythmic agitation of my washing machine's spin cycle muffled only slightly by a closed door. In the next room, my fiancé picks out a lilting melody on his mandolin. Even further away, the hint of a low drone, like that of a jet passing by in the sky, reminds me of the presence of the refrigerator upstairs in the kitchen. If I concentrate more, I can hear the distant whine of leaf blowers down the street, though what they could possibly be blowing in the middle of the winter is beyond me. And right next to the click clack of my typing as I commit these words to the page is the purr of an external hard drive, a reassuring sounding of the digital age."

This interactive multimedia project historically and culturally situates hearing and listening in eighteenth-century Paris by re-imagining how we might present sonic artifacts to better understand auditioning subjects within pre-recording technology soundscapes. Through multiple pathways and thematic tags, the project simulates how Parisians would have interacted with the web of sonic knowledge that existed in eighteenth-century Paris. The project culls resources from across academic digital initiatives as well as popular, public platforms. This blend of sources puts into question stereotypical distinctions made between academic and public, scholarly and popular. Enjoy exploring Organs of the Soul through a choose-your-own-adventure format. And consider what constitutes your own unique auditory subjectivity.

"Good Life Taylor's idea was to create a vibrant, creative, musical space within the City of Taylor parks system where people of all ages can gather, create music, and enjoy the outdoors. Good Life Taylor offered to pay for the development of a concept plan for the playground and to fund construction costs not covered by other sources, and they have been hard at work raising funds for the past several years. The playground, created in the shape of a musical treble clef, is located in Murphy Park between a lake and a swimming pool in an area previously a sand volleyball court. The playground includes native landscaping, a shade structure, and site furnishings."