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Fantastic Futures is a collaborative group of individuals from Iraq and the United States. Together, we've created this online platform for mixing and sharing of recorded sounds and stories across cultures. Our goal is to connect citizens from nations in conflict in an open dialogue based around the sharing of field recordings, songs, and interviews. Hopefully, this might help to collapse the barriers of physical space that contribute to the misunderstandings between cultures and to emphasize the subversive value of sharing experiences across political borders.

"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

Craig Smith, has digitized and shared a 27GB collection of vintage sound effects. The sounds form three collections. They consist of high-quality, first generation copies of original nitrate optical sound effects from the 1930s & '40s created for Hollywood studios. They were collected by a prominent sound editor who worked in the industry for 44 years. The fragile optical elements were donated to USC, and transferred to tape by USC Cinema students in the early 1970s. There are three collections: The Gold and Red Libraries (Gold effects start with "G", Red with "R") consist of high-quality, first generation copies of original nitrate optical sound effects from the 1930s & '40s created for Hollywood studios. They were collected by a prominent sound editor who worked in the industry for 44 years. The fragile optical elements were donated to USC, and transferred to tape by USC Cinema students in the early 1970s. The Sunset Editorial (SSE) Library was also donated to USC around 1990. It includes classic effects from the 1930s into the '80s. These effects are from 35mm magnetic film. They were often several generations removed from the originals, and not as clean, so some careful restoration was done to make them more useful. SSE effects start with "S" About Craig Smith: "I have been recording, editing, & mixing sound since 1964, and teaching sound design and technology at California Institute of the Arts since 1986. In my spare time, I experiment with implied narrative and accidental sound design -- putting together sounds & images that have nothing to do with each other to create unexpected stories."

"Shortwave Collective is an international, feminist artist group established in May 2020, interested in the creative use of radio. We meet regularly to discuss feminist approaches to amatuer radio and the radio spectrum as artistic material, sharing resources, considering DIY approaches and inclusive structures. ​"

"A cochlear implant is a medical device surgically placed in the inner ear, which transmits sound signals to the brain and can allow some deaf people to hear again, or hear for the first time. For hearing people, a video of a deaf person experiencing sound may look like a scientific and personal triumph. But for a deaf person, even a cochlear implant user like me, these "feel-good" videos are often a bit tasteless at best, ableist at worst."

"Our new how-to zine is ready to share! In this project you'll build a solar-powered oscillator circuit, using two NOT gates to generate a square wave. Then you'll add two push button switches and a potentiometer to adjust the pitch."

"Evolving out of experimental art series The Hibernation Project, EARS HAVE EYES is an auditory exhibition space for sound art on the radio. Local, national, and international artists and musicians are welcome to submit their work, sharing spatial soundscapes, auditory aesthetics, spoken word, noise, poetry, experimental compositions, thematic interviews, and other recorded media on the radio waves across Treaty 7 Territory in Southern Alberta - and beyond."

"When Canadian astronaut Colonel Chris Hadfield was as far from home as a human can get, he used SoundCloud to share the sounds of the International Space Station and connect with everyone back on Earth."

"This class examines the ways humans experience the realm of sound and how perceptions and technologies of sound emerge from cultural, economic, and historical worlds. In addition to learning about how environmental, linguistic, and musical sounds are construed cross-culturally, students learn about the rise of telephony, architectural acoustics, and sound recording, as well as about the globalized travel of these technologies. Questions of ownership, property, authorship, and copyright in the age of digital file sharing are also addressed. A major concern will be with how the sound/noise boundary has been imagined, created, and modeled across diverse sociocultural and scientific contexts. Auditory examples - sound art, environmental recordings, music - will be provided and invited throughout the term."

The World Forum for Acoustic Ecology (WFAE), founded in 1993, is an international association of affiliated organizations that share a common concern with the state of the world's soundscapes. Our members represent a multi-disciplinary spectrum of individuals engaged in the study of the social, cultural and ecological aspects of the sonic environment. Within this framework of care for the sonic environment WFAE works in collaboration with it's Affiliated and Associated Organizations to promote:

"Arline Bronzaft, environmental psychologist on the board of GrowNYC, talks about the effects of noise and offers practical advice for dealing with it. Alan Fierstein, an acoustic consultant and the owner and founder of Acoustilog, joins her to share tales of noise mitigation from the 5,000+ jobs he's handled."

"In 1999, composer/sound artist Steve Peters undertook a project at The Land, a venue for site-specific environmental art in the high desert of central New Mexico. Wishing to develop an intimate relationship with the site rather than impose his own noise upon it, he devoted himself to the act of listening to the sounds that were there during each hour of the day and night over the course of one year. Spanning the disciplines of acoustic ecology, environmental and performance art, poetry, sculpture, installation, and contemplative practice, Here*ings documents that experience of immersion in a particular landscape, examining the gradual process of becoming connected with Place. In sharing his findings, Peters encourages us to offer our own attention to the subtle poetry that surrounds us. His work reminds us that, beneath the surface of the commonplace, the extraordinary lies waiting to be revealed."

"NoTours proposes an augmented aurality experience. In other words, you can add a new layer of reality to your place. You can leave messages, tell stories, create geolocated concerts or just share your thoughts. The team of noTours.org is looking forward to know your ideas and your possible uses. In fact we are artists and developers. Take a look at some of the sound walks we have made in the world. "

"The comparison of a city's clock to a person's heart, though it has been made countless times, remains evocative. When Christina Kubisch first visited MASS MoCA in 1996, she was moved by the fact that the century-old factory clock had not kept time, nor had its bells rung, since 1986, when the Sprague Electric Company vacated the 13-acre site. This 19th-century clock, located in an eighty-foot tower with a 750-pound and a 1,000-pound bell, had set the rhythm of the workday in North Adams since 1895, ringing every quarter hour. Now those bells and beautiful brass clockworks share the tower with components of The Clocktower Project: solar panels, electronic sound system, and a computer with Kubisch's unique program on its flash disc. "

"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."

"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."

"This Sonic Constellation Compilation is part of the ongoing series: WAYBACK SOUND MACHINE, A CONSTELLATION OF SOUNDING TIME, which asks What can we gather from sounding the past-and with that in mind, what is the relationship between soundscape and sound design? This is Part One of a three part series-within-the-series, that shares various artistic forms, and some text, of/on sound from the past, and designing and composing sound for the past."

"arrangements of performative objects, Acoustic Sound Blankets, are embroidered with patterns that have been in Khan's family for generations. Women archive and embroider these artifacts when one is born, married, or passing. Holes are cut out to appear like the patterns on holy books. In previous performances for the camera, Khan has invited people to share intimacies, seek safety underneath these blankets concealing, like the veil. Since recent protests, it has become a common activity to meet in groups to make protest banners and, in many instances, holes are cut out of fabric to allow protesters to wear messages in lieu of holding signs. Khan has since received emails from activists requesting acoustic blankets to protect themselves from sound waves from military shock bombs used to break up crowds."

"This article presents a unifying theory of soundscape ecology, which brings the idea of the soundscape-the collection of sounds that emanate from landscapes-into a research and application focus. Our conceptual framework of soundscape ecology is based on the causes and consequences of biological (biophony), geophysical (geophony), and human-produced (anthrophony) sounds. We argue that soundscape ecology shares many parallels with landscape ecology, and it should therefore be considered a branch of this maturing field. We propose a research agenda for soundscape ecology that includes six areas: (1) measurement and analytical challenges, (2) spatial-temporal dynamics, (3) soundscape linkage to environmental covariates, (4) human impacts on the soundscape, (5) soundscape impacts on humans, and (6) soundscape impacts on ecosystems. We present case studies that illustrate different approaches to understanding soundscape dynamics. Because soundscapes are our auditory link to nature, we also argue for their protection, using the knowledge of how sounds are produced by the environment and humans."

"The following is writing from an earlier time in my recent research project, Wayback Sound Machine: Sound through time, space, and place. It felt an appropriate beginning to share here as the first part of the ongoing series, "Wayback Sound Machine- a constellation of sounding time", that will be exploring various works and writings approaching the concept of sound back through time. I will be publishing the call for work shortly, and hope to hear from some of you Sonic Field readers. "