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Chapter One: An Acoustics Primer Sound waves reflect off of harder surfaces the same way billiard balls bounce off the bumpers of a pool table-the angle of incidence equals the angle of reflection. A sound wave hitting a flat wall at 45° will reflect off it at 45°. These bounces will continue until the sound has been completely attenuated by the inefficient reflection (called damping) of the surfaces along with the normal falloff of the sound waves themselves."

One of a series of animations about acoustic: Sound absorption, sound reflection, and sound transmission through building assemblies"

"Recorded in its entirety using just a laptop, a pair of headphones and a midi sampler, Indentations is the debut full length album from New York based percussionist and producer Grant Chapman. Indentations draws deeply on Chapman's personal experiences surrounding loss and betrayal. An intimate work reflecting the struggle of dealing with traumatic experiences, the album makes the case for equilibrium following life-altering experiences. ''The album is a meditation on the sheer weight a broken relationship can have on two people. A personification of the stages of grief one feels when growing apart from someone they love, for reasons they can't seem to reckon with or comprehend.'' Working from his East Village apartment, Indentations is a rich amalgam of intricately layered found sounds, almost all of which were found on YouTube, taking in influences that range from ASMR to acapella choral performance. The effect is dizzying in its depth and scope. Chapman has created a boundless emotional musical journey that can feel both deeply intimate and cosmically vast."

"4DSOUND's John Connell reflectes on the potential of working with spatial sound technologies to encourage new states of awareness and reciprocity"

"Sonic Terrain is dedicated to field recording: Audio and sound recording not inside the studio environment, but in the outside world around us. We encourage not just hearing the world around you, but to listening to it, and recording it, for reflection, relaxation, art, science, or entertainment."

"Sound is ubiquitous and permanent, and embraces us as an envelope. Therefore, the experience of the auditory can be considered an environmental experience par excellence. The term and concept of soundscape reflects this idea. It implies, that sounds do not exist in isolation, and have to be understood as being embedded in and interacting with other sounds and perceptions coining the perceptional abilities of individuals and societies and their social relations: soundscape is a system in which all elements are interdependent."

"The ephemeral and varied character of subversion in musical creation makes it a challenging, complex concept to clearly define and illustrate. In this issue it is approached and reflected upon via a range of experimental practices with turntables, tapes and other devices, fringe genres, sound sculptures, and alternative models of music distribution. "

"Sway is a space where sound and physical form meet. The environment reflects the palpable experience of listening to music, in which many small parts work together to create a larger whole. When visitors become immersed in the mass of translucent reeds that form the geometry of the room, the sound composition reacts at the location of disturbance: individual sonic textures are revealed and distorted, unifying the experience of physical and aural textural breakdown. "

"If you see and hear sometimes a strong continuous signal that runs for more than a minute or so, that is unlikely to be a meteor echo. VHF radio waves are sometimes affected by an unusual form of ionosphere propagation called "Sporadic E". During this event which can last hours or even days, the radio signal originating from the distant station is reflected by the ionosphere and meteor echoes are impossible to be detected. Sporadic E is specific to summer season in Northern Hemisphere. "

"Experiences of listening may be understood to weaken us, making us vulnerable to the intensities of worldly contact and each other. Reflecting upon particular modes of listening, from the empathic to the migratory, understandings of sharing and togetherness will be drawn out, leading to a consideration of what we might call an acoustics of interruption. Accordingly, listening is posed as a framework through which formations of social solidarity and self-organization may be generated, where material and immaterial, real and imaginary forces are equally demanded."

"An online journal exploring process in sound art practice from artists' perspectives."

"Every Time A Ear di Soun is a documenta 14 Radio Program in collaboration with Deutschlandradio Kultur that explores sonority and auditory phenomena such as voice, sound, music, and speech as mediums for writing counterhegemonic histories. Every Time A Ear di Soun reflects on how the sonic impacts subjectivities and spaces, especially through the medium of radio."

"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. "

In February 2016, U.S.-based astronomers announced that they had detected gravitational waves, vibrations in the substance of space-time. When they made the detection public, they translated the signal into sound, a "chirp," a sound wave swooping up in frequency, indexing, scientists said, the collision of two black holes 1.3 billion years ago. Drawing on interviews with gravitational-wave scientists at MIT and interpreting popular representations of this cosmic audio, I ask after these scientists' acoustemology-that is, what the anthropologist of sound Steven Feld would call their "sonic way of knowing and being." Some scientists suggest that interpreting gravitational-wave sounds requires them to develop a "vocabulary," a trained judgment about how to listen to the impress of interstellar vibration on the medium of the detector. Gravitational-wave detection sounds, I argue, are thus articulations of theories with models and of models with instrumental captures of the cosmically nonhuman. Such articulations, based on mathematical and technological formalisms-Einstein's equations, interferometric observatories, and sound files-operate alongside less fully disciplined collections of acoustic, auditory, and even musical metaphors, which I call informalisms. Those informalisms then bounce back on the original articulations, leading to rhetorical reverb, in which articulations-amplified through analogies, similes, and metaphors-become difficult to fully isolate from the rhetorical reflections they generate. Filtering analysis through a number of accompanying sound files, this article contributes to the anthropology of listening, positing that scientific audition often operates by listening through technologies that have been tuned to render theories and their accompanying formalisms both materially explicit and interpretively resonant.

" This essay is about listening to the voice as a social prism of sound that disperses and reflects power. Thus by listening to and for elsewhere at public gatherings, we hear voices at work-in formation-producing an elsewhere by refusing to comply with the sonic demands of a Canadianness based on white settler colonialism, dependent on state-sanctioned multiculturalism, and rendered as silence."

"My listening protocol is not a set of fixed instructions on how to listen. This protocol is a set of notes for listening, which I use as part of my practice-based research on sound, art, public space and postcolonial entangled histories. It both reflects past listening experiences and anticipates future listening experiences."

"Today a growing group of sonic artists engage with plants as collaborators in their processes and creations. The duo Feral Practice invites audience members to sound walks in forests to reflect on ecological and social issues in the vicinity of trees. Sound artist Mileece senses signals from plants to develop sound-generating algorithms that she combines with field recordings to design immersive sound installations, a technology akin to the one used by Tosca Terán to detect activity in mycorrhizal systems which she converts into musical notes. Cristina Ochoa and Eduardo Vindiola read signalling activity in beets and modulate their rhythmic patterns to perform with them. Leslie Garcia studies plant communication to design prosthetic devices that simulate an abstract voice for plants through a process of biofeedback."

"As more than a third of the planet's human population has gone into some sort of social restriction…self-isolation, social isolation, physical distancing, quarantine…since those who have the luxury of walls have gone behind them-time has not so much stood still, but became fragmented and blurred. Our schedule markers have gone virtual, or gone away, or are far away.  As artists of various media attempt to capture some essence of this time, it may be found that fragments, notes, moments, and blurs, are what express better our experience. Text, audio, visual-both moving and still, compilations, complications, towards combobulations, if that is what comes. This is a time-capsule archive of finished works, and of fragments, reflecting a fragmented time. Fragments that feel frozen or appropriate as they are, and would then be placed with other fragments to create an unanticipated whole."

"Language can be a site of loss, a wholeness with which one, due to migration, has never really known. In the above passage, artist, Jesse Chun, reflects on how her grandmother spoke words in a language she did not understand, but yearned to hear and feel those sounds after her passing. There is a sonic residue that sticks to diasporic experiences. There are sounds that can stir up a blend of affect and ideation that is comforting when whiteness is unsettling."

"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."