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This site explores and archives the many questions, compositions and ramblings of sound that listeners and creators experience. From abstraction to music, all forms of sound art and experimental recordings will be presented here. Every entry has a playable audio clip with relevant photography and notes. It is my goal for this site to capture the interests of audiophiles, artists and the merely curious. Sound is Art showcases recordings from around the world and submissions for sharing work on this site is open to all. Please note that I am not a critic or an agent. I am a sound artist. I run this site to give back to the artist community and to honor the beautiful sound work that often goes unheard.

"Artist Julianne Swartz presents a sound installation, Digital Empathy, which greets High Line visitors with a variety of messages. At some sites, computer-generated voices speak messages of concern, support, and love, intermingled with pragmatic information. In other sites, those same digitized voices recite poetry and sing love songs to park visitors."

"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."

"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. "

"Coming to Know asks how listening to the past together might transform our sense of the knowledge held in common. It sets aside the visual techniques of the archaeological site, the museum, and the larger project of colonial modernity, and instead constitutes itself as a resonant structure-a future-oriented monument to historically situated listening bodies as well as a dwelling place for community now."

""the role of smells in our perception of and engagement with the past has not been systematically explored." Their findings, presented under the title "Smell of heritage: a framework for the identification, analysis and archival of historic odours," are based on sampling volatile organic compounds (VOCs), which compose most odors, at sites including the library of St. Paul's Cathedral in London. They additionally surveyed people about their olfactory perceptions of historical books."

"Living under the paving stones, consuming our refuse, and incubating our diseases, the city rat is a ubiquitous part of global, urban capitalism. The revulsion rats inspire actually speaks of our closeness to them-rattus norvegicus burrows through the supposed human / nature divide. And just as we continually negotiate our place in a dynamic city, so have rats developed elaborate social codes intertwined with urban architecture and geography. We are not usually privy to the vocal address of one rat to another, however, as they primarily speak above the (20khz) threshold of human hearing. For Urban Intonation, I recorded rats at multiple sites on the streets of NYC with an ultrasonic microphone. I then resampled and pitch-shifted the result into the range of the human voice and mixed it for playback over a human public address system, repositioning rat noise in public space as something that is recognizable, if not intelligible, as speech. "

"Natural sounds, and bird song in particular, play a key role in building and maintaining our connection with nature, but widespread declines in bird populations mean that the acoustic properties of natural soundscapes may be changing. Using data-driven reconstructions of soundscapes in lieu of historical recordings, here we quantify changes in soundscape characteristics at more than 200,000 sites across North America and Europe. We integrate citizen science bird monitoring data with recordings of individual species to reveal a pervasive loss of acoustic diversity and intensity of soundscapes across both continents over the past 25 years, driven by changes in species richness and abundance. These results suggest that one of the fundamental pathways through which humans engage with nature is in chronic decline, with potentially widespread implications for human health and well-being. "

"Elevator Pitch is inspired by Kim's childhood memories of crowding elevators with her Deaf friends, and shouting so loudly that they could feel the vibrations of each others' voices. Meanwhile, elevators are often known to hearing people as sites of "awkward silence," thus the concept of this installation challenges when and where various people have a voice. Born Deaf herself, Kim approaches Elevator Pitch by investigating how Deaf communities of New Orleans experience a city so deeply defined by music, and by highlighting how Deaf people are vital to this culture of sound. "

A really interesting experimental and interactive online publication "YCTM will unfold through four chapters and two interludes, framed by an introduction and a conclusion. Each chapter is organized thematically with four or five artworks, and released every two-to-three months. Visitors to the site are encouraged to listen to the works in their entirety and can navigate through as the project develops."

"Exclusively composed with/from recordings of bees in the Olivier Darné's hives, located in Saint-Denis, suburb of Paris Going over bee, ears in the wind, we feel the density of real and also throw ourself into this dance of oscillations. From the site specific installation, commissioned by Les Instants Chavirès (France) for La Brasserie Bouchoule during Lieux Communs festival 2007"

"My background is in sound design where I freelanced as a sound effects recordist and editor, location recordist and sound designer on commercials, feature films and documentaries. I also give workshops in sound design and interactive programming. I am founder of Social Sound Design, a Q&A site for sound designers. Please come and visit, we have a superb community."

"since 2006, when scientists at Denali began a decade-long effort to collect a month's worth of acoustic data from more than 60 sites across the park - including a 14,000-foot-high spot on Mount McKinley - Betchkal and his colleagues have recorded only 36 complete days in which the sounds of an internal combustion engine of some sort were absent. Planes are the most common source. Once, in the course of 24 hours, a single recording station captured the buzzing of 78 low-altitude props - the kind used for sightseeing tours; other areas have logged daily averages as high as one sky- or street-traffic sound every 17 minutes."

"Music for Forgotten Places sends city residents out into their neighborhoods on a strange journey of exploration and discovery. Located at various forgotten sites are small, hand-made wooden signs, each engraved with a title and a phone number. Upon discovering this mysterious object, explorers can call the number and hear a piece of music composed especially for that place."

Site dedicated to interviews related to new music. Editor Dan Warburton.

"This documentary was made in 2009 by the film maker Nora Meyer, and follows Jem Finer's realisation, in 2005 and 2006, of Score for a Hole in the Ground, a sculptural musical composition sited in a forest in Kent. SFAHITG was made with a grant from the PRSF and the collaboration and support of Stour Valley Arts."

"Ultra-red pursue a fragile but dynamic exchange between art and political organising. Through the performance of a militant sound investigation, the audio collective map contested spaces and histories as an articulation of social relations. Drawing on the formal strategies of early Conceptualism, We Come from Your Future facilitates a particular kind of discursive action whose performance of announcing and denouncing constitute an intervention. We Come from Your Future is comprised of two episodes in which Ultra-red ask, "What are the sounds of anti-racism?" Posing this question in the context of anti-racist and migrant organizing in the UK, the first episode features a set of dispatches that combine audio compositions with accompanying field reports. These online dispatches lead up to and inform an on-site event as part of the Triennial Prologues: Altermodern at Tate Britain on June 28. "

"Creative Time presents Playing the Building, a 9,000-square-foot, interactive, site-specific installation by renowned artist David Byrne. The artist transforms the interior of the landmark Battery Maritime Building in Lower Manhattan into a massive sound sculpture that all visitors are invited to sit and "play." The project consists of a retrofitted antique organ, placed in the center of the building's cavernous second-floor gallery, that controls a series of devices attached to its structural features-metal beams, plumbing, electrical conduits, and heating and water pipes. These machines vibrate, strike, and blow across the building's elements, triggering unique harmonics and producing finely tuned sounds. "

This site documents my work as a mixed-media artist. I've worked primarily with sound and video since the early 1990s and performed and worked on projects throughout Europe and North America. In recent years I have also concentrated on giving workshops on various aspects of sound that encourage collaboration through social communication, performance, mapping, recording and editing. - ohn grzinich

"Welcome to the community webspace of The WIRED Lab, a project focusing on Alan Lamb's work with The Wires. This *beta* site complements the WIRED project with an additional (to be launched!) website documenting Lamb's practice & other lab projects. "