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"There's different ways of sonifying data, and it's often hard to strike a balance between making it musical or "listenable", and translating the data into sound in a correct manner. We've seen different ways of sonifying data before in this "Sonify…"-series. With FedEx's SoundTrack, they very clearly went for music. Which seems logical considering SoundTrack is a marketing gimmick."

"I'm in there with a recording of violins - there's also some guy using an arc welder in the next cabin."

"Icelandic composer/cellist/choral arranger Hildur Guðnadóttir's was brought onto the show's production team in hopes of creating a score haunting enough to make viewers really feel the danger behind the spring 1986 catastrophe.... she used field recordings captured at a now-decommissioned power plant in Lithuania (where the series was filmed) to build the show's eerie and ominous soundtrack."

"The Self-Destructing Modules Behind Revolutionary 1956 Soundtrack of Forbidden Planet"

"Soundtracks is about remembering sounds. Everyday of our lives we are confronted with sounds. They set the tone, the atmosphere for our daily lives. Yet when we remember the important moments of our lives, we never remember the sound. Our mind just doesn't work that way. We can close our eyes and picture the moment before us, but when asked to do the same with sound, things become more difficult. Sound works much more insidious, and when asked to remember a sound, to recreate it in our heads, we have to rely a lot more on our imagination, our crosslinks between feelings, thoughts and memories to attempt to hear it again. And by using that imagination, we explore what it was that made a certain sound special to us, and why it stuck with us."

"Severance provides a stellar example of how a quiet, subtle, appropriate, yet detailed soundtrack can have every bit as much impact as a Marvel movie."

"Thought to be lost for years, this playful film combines abstract geometry and textures to create a visible soundtrack, and even features the fingerprints of the director himself."

Oorwonde is an interactive aural installation in which the visitor becomes a willing 'patient' to hear, feel, influence and manipulate the soundtrack of a fictitious operation. Speakers, electro-magnets, vibrator motors and piezoelectric disks entwine with the human body, creating a unique composition and performance. Based on Bernhard Leitner's philosophy that "listening is understood to extend to all parts of the body and sound to touch a deep nerve", Oorwonde explores the concept of bodily hearing as multiple elements target different body parts. Hearing is no longer restricted to the ears.

When a plant reacts to a butterfly larvae feeding on its leaves, it releases chemical substances, or compounds. The characteristics of these compounds have been analyzed in collaboration with the Ecological Chemistry Research Group at the Royal Institute of Technology in Stockholm, and then transposed into amplitude and intensity of sinus tones, recorded at EMS (Electroacoustic Music in Sweden), Stockholm. Thus these beautiful graphic score and soundtrack by Swedish artist Christine Ödlund are direct transpositions of "the plant's life, struggle and death"."

" Blurring the boundaries of perception, Nadine Robinson's installation alles grau presents an original soundtrack for modern civilization and an apocalyptic landscape of time. Translated from German, the title, alles grau in grau malen, means "to paint everything grey or pessimistically." The larger-than-life grey panels, speakers, smoke, light and throbbing acoustics are suggestive of Biblical depictions of the end of time. Robinson refers to these doomsday narratives as part of "the specter of Revelation," which "looms in the popular imagination today.""

"Professor Trevor Cox is a British academic and science communicator, a Senior Media fellow for EPSRC, and is President of the Insitute of Acoustics for the 2010-12 period. Cox has presented a range of popular science documentaries for BBC Radio 4, BBC Radio 3 and BBC World Service, including Sounds of Science, Aural Architecture, Life's Soundtrack, Science vs Strad, The Pleasure of Noise, World Musical Instruments, Dragon's Lab, Biomimicry and Save our Sounds. He was co-originator and judge of BBC Radio 4' 'So You Want To Be A Scientist?', a competition to find Britain's best amateur scientist. He has gained worldwide news coverage for stories such as "Does a duck quack echo?" and "The Worst Sound in the World". He has also investigated the World's scariest scream. In addition, he has appeared in features on BBC1, Teachers TV, Discovery and National Geographic channels, and as an expert in news items on a variety of television and radio channels"

"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."

"As more than a third of the planet's human population has gone into some sort of social restriction…self-isolation, social isolation, physical distancing, quarantine…since those who have the luxury of walls have gone behind them-time has not so much stood still, but became fragmented and blurred. Our schedule markers have gone virtual, or gone away, or are far away.  As artists of various media attempt to capture some essence of this time, it may be found that fragments, notes, moments, and blurs, are what express better our experience. Text, audio, visual-both moving and still, compilations, complications, towards combobulations, if that is what comes. This is a time-capsule archive of finished works, and of fragments, reflecting a fragmented time. Fragments that feel frozen or appropriate as they are, and would then be placed with other fragments to create an unanticipated whole."

"When Shane Carruth's film Upstream Color was released in 2013, critics described it in various ways-as a body horror film, a sci-fi thriller, a love story, and an art-house head-scratcher-but they all agreed that it was a film "not quite like any other". And while the film's cryptic imagery and non-linear editing account for most of the "what the hell?" reactions (see here for example), I argue that the reason for its distinctively hypnotic effect is Carruth's musical approach to the film's form: he organizes the images and sounds according to principles of music, including the use of repetition, rhythmic structuring, and antiphony."

"Montefiore Hospital in the UK teamed up with ambient music artist Brian Eno in April 2013 to create a Quiet Room where patients can find relaxation and calm. Eno designed a light and sound installation for the room and for the reception area, including an original soundtrack of soothing instrumental tunes. Once the room has had a few inhabitants, there are plans to examine whether the patients who have sought solace there exhibit any beneficial physiological changes."

How does one remember a sound? Why does one remember a sound? We remember things visually. Close your eyes and you can perfectly picture that one magnificent view you've seen a couple of years ago. But try to do that with a sound, to recreate that sound in your head, and…. it suddenly becomes a whole lot more difficult.

Christopher Cerf, an award-winning composer for the American children's television series Sesame Street, was so disturbed by the use of his songs as psychological torture by the US during interrogation operations in Guantanamo in 2003, that he embarked on a journey with Al Jazeera World to interview a number of scientists, US Army personnel, and ex-detainees, to learn more about the psychological effects of music, and to uncover the history and use of music in torture. Among the people Cerf interviews are a US Army interrogator, a former Guantanamo prison guard, an ex-Guantanamo and Bagram detainee who recounts the use of Metallica and Marilyn Manson in torture during his time in prison, and the heavy metal band Drowning Pool, whose song "Bodies" was dubbed an unofficial soundtrack of the US military, and whose music was also used to torture prisoners.

"For those familiar with modern media, there are a number of short musical phrases that immediately trigger a particular emotional response. Think, for example, of the two-note theme that denotes the shark in Jaws, and see if you become just a little more tense or nervous. So too with the stabbing shriek of the violins from Psycho, or even the whirling four-note theme from The Twilight Zone. In each of these cases, the musical theme is short, memorable, and unalterably linked to one specific feeling: fear. The first few notes of the "Dies Irae" chant, perhaps as recognizable as any of the other themes I mentioned already, are often used to provoke that same emotion."

"Interview with Robert Dudzic August 9, 2018 by Jim Stout Leave a Comment I recently had the privilege to speak with Robert Dudzic and, during the course of our casual discussion, we touched on topics such as his thoughts on the creative process, how to gain access to sites and the power of inspiration."

"They chased bees, raided junkyards and banged household objects. Now, half a century on, the Radiophonic Workshop are festival material. Meet the sound effect visionaries whose jobs came with a health warning"