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" "Devine has taken data from NASA's Kepler missions to create individual compositions that occupy each floor of the 29 metre high tower, built in 1758. Each composition can be thought of as a subset of this set of data, and a mapping of the range of frequencies and information gathered by the missions to a more manageable human scale. The compositions from each star's data are positioned according to their age, frequency range and the number of exoplanets they host, moving upwards through the tower, which could almost have been custom built for the installation. [...] As you ascend through the building, you're also moving light years through the universe, outwards towards the different solar systems with their exoplanets and changing resonances. Just as musical instruments resonate with frequencies, so can the stars and planets, and it is this resonance that Devine has scaled for the human ear.""

"With Resonance Audio, bring dynamic spatial sound into your VR, AR, gaming, or video experiences at scale."

"I just came back from New York City, a place with an overwhelming sound, everywhere you go. And each location in a city like that has its own resonance, its own sonic identity. That's hard to hear though if there is so much noise around it becomes a cacophony. But what if we could isolate this resonance and listen to the astonishing differences in the sound of urban spaces? Davide Tidoni did just that with A Balloon for Linz. Luckily Linz is not NYC, and he was able to find spots which were quiet enough to make a clear recording (using his nice helmet mount microphone). You might recognize the concept as Davide did something similar before."

"Ariel Guzik designs and produces mechanisms and instruments to enquire into the various languages of nature. He is also a musician, draftsman and illustrator. He is the director of the Nature Expression and Resonance Research Laboratory in Mexico (Laboratorio Plasmaht de Investigación en Resonancia y Expresión de la Naturaleza, Asociación Civil), an organisation which explores natural resonance, mechanics, electricity and magnetism and how these phenomena can be applied to music and sound experiments."

"The world of acoustics is not just confined to finely tuned auditoriums and recording studios. The most intriguing sonic experiences can be had in some of the world's unique buildings and structures. "

"A complete set of nineteen brass spheres with tapered openings at opposite ends. One opening is funnel shaped to allow to be inserted into the ear. "

"Listening is Making Sense lets you listen in on vibrations carried through thick wooden beams. The only way to experience the installation is by getting into physical contact with the resonant matter, by placing your ear directly on the wood."

In Resonance: The Journal of Sound and culture "This paper explores the cultural ramifications of music generated by artificial intelligence (AI). Deploying complex algorithms to create original music productions, AI's automation of human authorship may suggest a radically new sonic form. However, its creators have preferred to use its tools to mimic established musical genres from the past. "

"Hum: Drone Listening Walks is a 2-colour risograph printed pocket book mapping and poetically detailing resonant spots for audio. Readers are encouraged to walk to the sites on the map at their leisure and participate in a guided sound tour"

"I gave a talk on my Masters Thesis Project in Architecture focusing on Altering Soundscapes in Exterior Environments using Helmholtz Resonators in Ceramic Bricks to absorb Low Frequency Traffic Noise."

"I'm a huge fan of Joan La Barbara. Her LP The Voice Is The Original Instrument is one of my favorite documents of the 1970's NY avant-garde. La Barbara is a master of advanced vocal technique. In addition to her own remarkable creative output, she's had a long career working with many of the greatest names in avant-garde composition - John Cage, Robert Ashley, Morton Feldman, Philip Glass, Alvin Lucier, Gordon Mumma, David Behrman, David Tudor, and her husband Morton Subotnick. In my wanderings around the internet I've come across some of her wonderful scores and images of performances etc. I thought I'd pass them along. To see and learn more visit her website.   Voice Piece: One-Note Internal Resonance Investigation (1975)   Persistence of Memory (2009)   Circular Song (1975)   In the Shadow and Act of the Haunting Place (1995)   Performing in Berlin 1981   With Gordon Mumma and David Behrman in 1974   Working on Philip Glass' Einstein on the Beach in 1976   In 1974 with Philip Glass Ensemble with Dickie Landry, Richard Peck and Jon Gibson   With David Tudor, Paris 1974   With Dana Reitz and Phill Niblock (1975)   Playing chess with John Cage   Performing in 1976   Performing in 1976   In the studio with Morton Subotnick in 1984 Share this: TwitterFacebook Related at home with morton subotnick and joan la barbara January 29, 2016 Liked by 1 person joan la barbara's voice is the original instrument reissued by arc light editions May 4, 2016 Liked by 2 people on the early immersive music of joan la barbara, via mode records April 2, 2018 Liked by 2 people Post navigation Rising Tones Cross (Full Film)at home with morton subotnick and joan la barbara 2 thoughts on "the beauty of joan la barbara (scores and photographs)" Feminatronic February 9, 2016 at 8:46 pm Reblogged this on Feminatronic and commented: Something a little different as my Todays Discovery is this webs

"Kjetil Trædal Thorsen, founding partner and architect at Snøhetta, talks sound and space with reSITE at RESONATE. He emphasizes the importance of "transpositioning" in an increasingly specialized world to ensure architecture remains collaborative and interdisciplinary. Kjetil also encourages the use of all senses, especially sound, in his work."

The Underground Sound Project is a collection of underground sound recordings made by artist Nikki Lindt over the course of the past year. They were made in Prospect Park, other parks in the five boroughs of NYC and in rural Cherry Valley, NY. The recordings are made by placing microphones underground, underwater and even inside trees. So put on your headphones and come explore the melodic, resonant, and otherworldly sonic ecosystem right beneath our feet!!

"Did you know deep, resonant sound can be heard inside trees, among the roots of plants, in shifting soils, in streambeds, rivers, and even in mud-and that the sounds of the subway and airplanes can be heard in the soils of our local parks? From May 14, 2022 - May 2023, experience the sounds of Prospect Park in a new immersive way with artist Nikki Lindt's the Underground Sound Project, a Soundwalk."

"Libraries, as 'sanctuaries of quiet', are unique places, both culturally and acoustically: they soundproof our thoughts from the distraction and the noise outside their walls. However, they also coerce us into behaving quietly, amplifying the sounds we make beneath their domed acoustic chambers. Manchester Central Library's main reading room, placed on the top floor and filled with natural light, was designed to impose a state of quiet on the reader, with every small sound amplified by the unique acoustic of the domed roof."

""we tend to be indifferent to acoustics" in contemporary residences, and think only of "competing with traffic outside". Normally, he continues, "architecture is about being quiet", whereas there's a rich history of sound and architecture - especially in pre-literate societies. He talks of the clarity of sound in the Greek amphitheatre, of the intentional use of sound spaces in Medieval and Gothic cathedrals, which were "designed by acoustics as much as visual principles - they were considered 'sacred resonators'"."

"framework began broadcasting in june, 2002 on the newly reformed resonance 104.4fm in london. the show now airs on 5 radio stations around the world, with more to follow soon, and streams and podcasts here on it's own website. framework is consecrated to field-recording and it's use in composition, and began broadcasting at a time when a new community of sound artists with a special interest in found sound was developing, a community spread across the world that, thanks to the internet, was no longer limited to a specific geography. framework sees itself as an outlet for this ever-growing and developing community, a folk-tool in a new folk movement, a community driven exchange point for creators and listeners alike. framework's goal is to present not only the extremely diverse sound environments of our world, but also the extremely diverse work that is being produced by the artists who choose to use these environments as their sonic sources. we hope to ask this question: is 'field-recording' a style, or a genre, or is it in fact as uncontrollable and undefinable an instrument or tool as any, that may be interpreted, manipulated, and appropriated by anyone with a microphone and an idea? these works are its definition, and not vice versa."

"Since 2006, the Art of Failure collective has been sending bass frequencies into remarkable architectural structures. These experiences establish a dialog between architecture, the structures' spatial components, and their geographic context - revealing building's specific acoustic and vibrating qualities."

"A prehistoric necropolis yields clues to the ancient use of sound and its effect on human brain activity. Researchers detected the presence of a strong double resonance frequency at 70Hz and 114Hz inside a 5,000-years-old mortuary temple on the Mediterranean island of Malta. The Ħal Saflieni Hypogeum is an underground complex created in the Neolithic (New Stone Age) period as a depository for bones and a shrine for ritual use. A chamber known as "The Oracle Room" has a fabled reputation for exceptional sound behavior."

"As part of the 21st Biennale of Sydney Oliver Beer will exhibit two new works: Composition for Mouths (Songs My Mother Taught Me) I & II, 2018 at the Art Gallery of New South Wales. These two films are a direct response to Beer's unprecedented access as artist in residence at the Sydney Opera House. Exploring ideas of cultural memory and 'inherited music', Beer asked singers to recall the earliest songs they remembered from childhood, incorporating the melodies into new compositional forms. Joining their lips in a tight seal to create a single mouth cavity, the singers explore the resonant frequencies of each other's faces as well as the architecture. They blend their voices to create rhythmic microtonal harmonic interactions known as 'beats' whilst combining adapted forms of their remembered music."