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"Audible Inaudible is a term keyed by ethnomusicologist Martin J Daughtry where the violent sounds of war become muted by its auditors as a mechanism for survival. I have multiple memories that involve the terrifying sound of the air raid siren so I started the research in how to translate a sonic memory into object. This lead me to Martin's a book titled "Listening to War, Sound, Music and Survival in Wartime Iraq" where he describes an interview with a mother shielding her children from the violent sounds of war by holding them tight and pressing her arms against their ears. Her body, her flesh then acted as a perfect, natural micro environment to protect her children. I wanted to mimic this concept of "flesh as defense" so I introduced pyramid acoustic foam in the paintings; a material that "detains" sound. I started surgically cutting my linen and pushing the foam through it from the back. As it was penetrating the surface I felt as if I was conducting an operation of resistance. These calculated cuts and wounds were enabling the painting to breathe. Inhaling and exhaling it was reacting, resisting, defending and accepting these sonic wounds."

"Four years after the invention of the telephone, Alexander Graham Bell caused flurries of excitement with another invention, which he described in a series of essays and lectures in the US and Britain during the autumn of 1880. The device was what he called the 'photophone'. It depended upon the discovery made by Willoughby Smith in 1873, during the course of work on the Atlantic undersea telephone cable, that the resistance of the material selenium, which was ordinarily extremely high, in fact varied with the action of light, exposure to light lowering the resistance of the material."

"This short film is actually an advertisement for Japanese mobile phone company Docomo, but it's nonetheless hard to resist: a linear musical instrument designed by Drill Inc. is played by the descent of a wooden ball as it slowly rolls down track, sending xylophonic plinks and plonks out into the forest. "

Hearing Modernity - Sawyer Seminar at Harvard by Miguel on Aug 12, 2015 No Comments Sound, fleeting and immaterial, has long proved resistant to academic inquiry. Faced with the impenetrable difficulty of pinning down sounds themselves, scholars have largely focused on written texts (instead of spoken words), while musicians have largely focused on notes (instead of sounds). In recent years, however, a number of very promising approaches from a variety of fields, which often bridge the arts and the sciences, have sprung up and have begun to capture this phenomenon in its wider context.

"For an exhibition at the Hessel Museum of Art, the artist wired five groups of corn plants to five music devices, forming a biofeedback system. Control signals were generated by measuring the electrical resistance of the plants' vegetable tissue, which in turn activated the MIDI synthesizers. Viewers were encouraged to interact with and touch the plants, which affected the sounds being played. The audience and cornfield were not just participants but actors, acting together-in concert-to produce the work."

"Here's an interesting lecture philosopher Christoph Cox gave recently (January 18) in connection with a sound intervention by Andrea Hornick in the Collection Gallery of Barnes Foundation. The lecture, entitled "A brief history of sound art" explores pretty much what its name suggests, going from historical works and artists to relations between sound and other art forms. The philosopher "traces the history of sound art from the invention of audio recording in the late 19th century to the genre-bending compositions of John Cage to the explosion of sound installation in the 1960s. Cox surveys a range of sonic practices, revealing how they resemble and resist approaches in the visual arts.""

Having students understand ideas of expansiveness, asymmetry, and non-linearity as central to black cultural expression and critique-even as artists refuse to sacrifice an expressed political commitment to black resistance-begins to suggest ways for students to contemplate the intersection of identity politics with the unexpected, fantastic elements of expression that lie outside of more recent flattened diagnoses of black nationalism."

"In this edition of Fusion Journal we wish to explore the act of listening to the land, to others, to difference, as encountered in embodied and virtual spaces. We especially encouraged contributions that represent creative practice as well as more traditional text-based articles. How might we attempt to interpret what is being said in languages we do not understand? How might we resist - even if just for a moment - adding our own sounds to the noises of the neoliberal project of the anthropocene: the clashing music of the shopping mall, the automated voice, the shock jock, the celebrity, the power tools, the leaf blowers, the bulldozers, the mining blasts. How might we listen out, or tune in, to the small, the subtle, the unnoticed, the dying, the unusual, the banal, the mad, the unexpected?"

"Toussaint-Baptiste's current exhibition, Set It Off, addresses affective and relational possibilities of sound through the perspectives of minimalism and a resistance to predetermined representations of Black American experiences by favoring instead abstract visual and sonic expressions of Blackness."

"Have you ever wondered if bacteria make distinctive sounds? If we could listen to bacteria, we would be able to know whether they are alive or not. When bacteria are killed using an antibiotic, those sounds would stop - unless of course, the bacteria are resistant to the antibiotic. This is exactly what a team of researchers from TU Delft, led by dr. Farbod Alijani, has now managed to do: they captured low-level noise of a single bacterium using graphene. Now, their research is published in the journal Nature Nanotechnology."

"Sonic Terrains in Latinx Art at the Vincent Price Art Museum presents a history of Latinx sound practices steeped in resistance"

Kate Donovan is a radio artist/practitioner, facilitator and researcher based in Berlin. Her artistic practice deals with radio in an elemental sense, in terms of frequency, transmission and interconnectedness. Her editorial and organizational work in free and community radio fosters inclusion, diversity, and experimentation. With questions of science-fact, the imagined, physical immersion and the "environment" in mind, her research (and in turn, her practice) is an exploration of radio as a natural phenomenon, an artistic medium, and a site for resistance.

"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

"Who raises the alarm, and in whose interest? What might a siren sound like for the entangled human, non-human, and more-than-human? This collection emerges from and expands upon a three-day program at Tate Modern, held alongside the premiere screening of Aura Satz's film Preemptive Listening. The programme brought together musicians, artists, historians, sociologists, and activists (several featured in the film), to think through the siren-not simply as an emergency signal, but as a tool for listening, remembering, sensing, and reimagining. Speaking to the sirens that are and those that could be, from sonic warfare to ecological disaster, the conversations circled back to recurring questions of how we might rewrite the scripts of urgency, survival, and resistance. "