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"The Discovery of Sound in the Sea website will introduce you to the science and uses of Sound in the Sea. There are several major sections on the site such as The Science of Sound in the Sea, People and Sound in the Sea, and Animals and Sound in the Sea. You will find the site's Audio Gallery a fascinating place to visit where you can listen to underwater sounds created by marine animals, human activities, and natural phenomena such as lightning, earthquakes, and rain. Check out the Technology Gallery and discover a variety of equipment that uses sound to investigate the ocean. Watch video interviews with scientists that study how marine animals produce and hear sounds. Investigate how scientists use underwater acoustics to track ocean currents, identify potential obstacles, and quantify fish distributions. There are also resources for many specialized audiences, including teachers, students, the media, and decision makers."

In this second interpretive video for "Living with Concepts," Norway-based artist Jana Winderen discusses the four-channel audio installation "Spring Bloom in the Marginal Ice Zone: From the Barents Sea to Lake Ontario": https://vimeo.com/613751409 Composed from field recordings in the Barents Sea along the marginal ice zone (an ecologically vulnerable, dynamic border between the open sea and the sea ice), Winderen's composition documents wildlife activities that all depend on the annual spring bloom: plankton, bearded seals, humpbacks and orcas, crustaceans and spawning cod. On UTM campus, these sounds connect the vulnerable ecologies of the Barents Sea with the seasonal rhythms of local forest ecologies, and the distressed waterways of Lake Ontario and the Credit River. "Spring Bloom" plays during daylight hours only. It is periodically shut off in response to seasonal ecological activity, determined in consultation with faculty in UTMBiology. See the Blackwood website for current playback conditions: https://www.blackwoodgallery.ca/program/living-with-concepts First presented in Mississauga by the Blackwood for "The Work of Wind: Air, Land, Sea," "Spring Bloom" is currently installed at the University of Toronto Mississauga campus, 2021-2024, as part of "Living with Concepts." Artwork storage and transport sponsored by Musket Transport Ltd. Video by Vuk Dragojevic.

Sea Organ in Zadar, Croatia

"The oceans are full of noise - both natural and man-made. In this video, researcher Michel Andre explains how he is trying to make sense of how our sounds have such far-reaching effects on the whales sharing our seas."

The Ground: From the Land to the Sea" brings together some of the most important works by the sound artist, forming a musical and spatial composition in the gallery. For some video, go to this Instagram post: https://www.instagram.com/p/B05G-URnJJ3/?igshid=ftwbbfdvvh4j

"Oceans are a sonic symphony. Sound is essential to the survival and prosperity of marine life. But man-made ocean noise is threatening this fragile world. Sonic Sea is about protecting life in our waters from the destructive effects of oceanic noise pollution."

There are two ways of seeing this act of invention. In one version, it was the realization of an old dream. answering to ancient susceptibilities. The French photographer Nadar, greeting Edison's invention, said it was as if Rabelais's tale of the sea of frozen words, which released voices into the air when it melted, had passed from the imaginary to the real. Rabelais was dead only thirty-five years when in 1589 the Italian scientist Giovanni Batista della Porta, one of the inventors of the telescope, imagined that he had 'devised a way to preserve words, that have been pronounced, inside lead pipes, in such a manner that they burst forth from them when one removes the cover'. Around the same time a Nuremberg optician suggested enclosing echoes inside bottles, where he thought they would keep for a few hours at least.

"Thousands of species of fireflies all blink in different patterns, not only blinking in rhythms but simultaneously performing specific flight choreographies. The timing and pattern of their flashes are unique to each species. In Bioluminescence, I translated firefly behavior data from Prof. James E. Lloyd's Studies on the Flash Communication Systems of Photinus Fireflies into an orchestral piece. Rhythmic patterns of light and insect movement provide the material for both melodic and rhythmic figures. In biology, bioluminescence is the ability of living things to produce light through biochemical processes. Most bioluminescent organisms are found in the sea. The group of marine bioluminescent organisms includes fish, bacteria, and jellyfish. Some bioluminescent organisms, including fireflies and fungi, are found on land. Bioluminescence is used by creatures to make prey, defend themselves against predators, find mates, as well as for other vital activities. Recent studies show that the number of fireflies is declining. Light pollution from human-generated light disrupts insect courtship behavior because it can only occur in the dark. The artificial extension of daylight into the night disrupts the fireflies' dark-light cycles and thus their biological behavior."

"Discrete Archive was created for music, writing and artefacts that explore quietness. This can mean many things, we like music that allows for space, presents sonority as object and is concerned with the materiality of sound, sound as thing. We occupy a world of noise, discerning meaning in this sea of noise is increasingly difficult.  We invite you to contemplate the world around you through stillness and quiet that sound can provide a focus for. "

"A new study shows microphones suspended from helium balloons in the stratosphere can detect low-frequency sounds from ocean waves. The new method shows promise for detecting acoustic signals from natural disasters and nuclear explosions that cannot always be reliably detected by sensors on the ground, according to the study's authors."

"Bernie Krause has been recording wild soundscapes -- the wind in the trees, the chirping of birds, the subtle sounds of insect larvae -- for 45 years. In that time, he has seen many environments radically altered by humans, sometimes even by practices thought to be environmentally safe. A surprising look at what we can learn through nature's symphonies, from the grunting of a sea anemone to the sad calls of a beaver in mourning. "

"Chris Watson shares his experience as a composer and location wildlife sound recordist, discussing the technical elements of field sound recording and presenting his recordings of the rainforests near Iguazu Falls in Brazil and Brinicles (icicles forming under sea ice) in the Arctic and Antarctic. He concludes with a case study, presenting a piece of sound art, commissioned by the National Gallery, created in response to John Constable's The Cornfield."

"Time and Tide Bell" is a permanent installation, existing of 12 bells around the U.K. in several very different locations, rung by the sea at high tide. The rise of the water at high tide moves the clapper to strike the bell. Played by the movement of the waves, the bell creates a varying, gentle musical pattern. As the effect of global warming increases, the periods of bell strikes will become more and more frequent, and as the bell becomes submerged in the rising water the pitch will vary."

"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."

"Even if you're aware that glaciers are melting and sea levels are climbing, these facts can be difficult to connect with on an emotional level. A sound artist at the University of Virginia is hoping to change that by turning scientific data into music, and, well, the result is pretty damn cool."

"What do we really hear when we hear the wind? If you step from a wood into an open field, the sound changes, although it is the same wind blowing over both. A winter pine tree far from the coast makes the wind perform like an angry sea, while a neighbouring bare birch makes a gust-like sound as soft as the brushings of a jazz drummer. A single blast can turn telephone cables and barbed wire fencing into the strings of a wind-harp."

"Artist Jana Winderen transports us underwater, to listen to the sonic wonders of the sea."

"If you flip on a waterfall to fall asleep, if you keep rainymood.com in your bookmarks, if you associate well-being with the sound of streams and crickets or wonder why the beach never quite sounds as tranquil as you imagine, it's because of Teibel. New York's least likely media mogul was the mastermind behind Environments, a series of records he swore were "The Future of Music." From 1969 to 1979, he took the best parts of nature, turned them up to 11, engraved them on 12-inch records, and sold them back to us by the millions. He had a musician's ear, an artist's heart, and a salesman's tongue, and his work lives on in yoga studios, Skymall catalogs, and the sea-blue eyes of Brian Eno. If you haven't heard of him, it's only because he designed his own legacy to be invisible. "

"When musician and naturalist Bernie Krause drops his microphones into the pristine coral reef waters of Fiji, he picks up a raucous mix of sighs, beats, glissandos, cries, groans, tones, grunts, beats and clicks. The water pulsates with the sound of creatures vying for acoustic bandwidth. He hears crustaceans, parrot fish, anemones, wrasses, sharks, shrimps, puffers and surgeonfish. Some gnash their teeth, others use their bladders or tails to make sound. Sea anemones grunt and belch. Every creature on the reef makes its own sound. But half a mile away, where the same reef is badly damaged, he can only pick up the sound of waves and a few snapping shrimp. It is, he says, the desolate sound of extinction."