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""But wait!" you might ask, "what do you mean by Spatial Audio? Are you talking about Immersive Audio, 3D Sound, Surround Sound, Binaural, Auro-3D, Dolby Atmos, 360-sound…?" Well, yes, sort of. In principle, we are talking about anything related to 'sound beyond stereo', which is not an entirely new thing on its own."

"Interface: Echolocation Headphones. 10/12 Echolocation Headphones is a project that studies new applications for parametric sound technologies. This study emphasizes on augmentation of the auditory sense by enhancing our current ability of processing omnidirectional sound by providing a focal point to audition, similar to a visual focal point. Currently, human echolocation is being explored by the blind who have reached an increased understanding of sound and spatial relationships. In other species echolocation is facilitated by different evolutionary traits that differ from the current human senses. These headphones provide the opportunity for focal audition similar to a focal point in vision, depicting a more detailed spatial image of the parameters of the space surrounding the subject. "

"4DSOUND's John Connell reflectes on the potential of working with spatial sound technologies to encourage new states of awareness and reciprocity"

"While the acoustic environment and urban soundscapes shape our everyday life, architecture practice usually neglects the experience of acoustic space in its design process. My research addressed the challenge of integrating spatial acoustics and the experience of environmental sound in architecture practice. Drawing from acoustic ecology, creative approaches embody the aural experience of the environment into the design process of architecture. "

"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."

"Frames and variations, an experiential exhibition, encompassing sound, film and performance, by Hong Kong-based artist Samson Young. The show marks Young's debut solo exhibition with the gallery and will be on view from January 20th to March 4th, 2023, at Petzel's new Chelsea location at 520 W 25th Street. Inspired by the perception of sound and how it is distorted and concealed in cinema, this exhibition is comprised of two new immersive installations that center on the effects of situated listening. Young examines the spatial relationships between the aural source and the viewer's vision, adding to an illusion of sound that encircles the viewer sonically and visually."

guitars, motors "Video documentation of the sound installation "minigit" by Trobollowitsch Andreas @ Werkstatt XV (Vienna) December 2011 Spatial Sound Installation for four acoustic guitars on the wall. Four converted ventilators which use cello-bow hair instead of propellers set the strings into oscillation. Soundscapes arise through the soft, smooth picking of the guitar strings by the circling cellobow hair, the permanently modifying overtone layers are reminiscent of an electronically generated sound aesthetic. www.klangmanifeste.at "

radio aporee ::: maps has started 2006, based on former artistic research on mapping, spatial conditions and the navigation between the real and the virtual. It develops from the insight that it is basically impossible to map the complexity of todays public spaces. Against the background of an increasing awareness of spatial aspects in media and the popularity and presence of visual geographies like google maps, the idea was to connect sound and space, and to create a cartography which focusses solely on sound, and open it to the public as a collaborative project. Meanwhile it contains 1000s of recordings from numerous urban, rural and natural environments, showing the sonic complexity of these environments, as well as the different perception and artistic perspectives related to sound, space and places. furthermore, it's an exciting playground for experiments with sound and mobile media.

Tuned City is a platform which proposes an examination of the relations between architecture and sound. This ongoing project draws the traditions of critical discussion about urban space within architecture and urban planning discourse - as well as its strategies and working methods - into the context of sound art. This expanded discussion reinforces the potential of the spatial and communicative properties of sound as a tool and means of urban practice. Tuned City continues as a platform, exploring other cities and locations with their own cultural and social settings, working theoretically and practically on the question how sound and architecture are related.

4DSOUND is a studio exploring spatial sound as a medium. Since 2007, 4DSOUND has developed integrated hardware and software systems that provide a fully omnidirectional sound environment. These environments enable vivid sonic experiences that blur the boundaries between the real and the imagined: the world of sound we know, and a world beyond.

"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."

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

"Van Dam and de Boer have developed the following idea from these different interests. In several recordings of Dam filmed (and sound is recorded) when he performs Sequenza VIII . Emphasizing first half total, the body and the intimacy with the instrument. Then abstract details filmed, like his hands, his ear, details of the violin, strings and the like. In the editing is from the portrait / body of the violinist a more fragmented, abstract image created a physical, gives spatial experience in the tension between the music and the image rhythm. If the body and the violin in abstract details and solve dancing away in the (sound) space."

"Bodyscape is inspired by the body of a dancer as sonic source. The information is taken via biosensors and microphones, which record movements and events generated by the body. In this ecosystem, the dancer produces sounds, mainly inaudible, which are then amplified and send back to the performance space, where the dancer interact with them as biofeedback. The site-specificity of the work relates to the spatial considerations and resonances. Field recordings were collected at the border of Botswana and South Africa. L'épidemie virale en Afrique du Sud, a text from the Swiss writer Friedrich Dürrenmatt, informed the journey. The text describes a virus transforming white persons into black persons. A text about privileges."

"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."

"kurimanzutto presents Tarek Atoui's project Organ Within at its cabinet space in New York City. Operating as an open sound laboratory, and instrumentarium, Atoui will debut a new hybrid sculptural object that engages numerous technologies in order to re-envision the spatialization, perception and performativity of the traditional organ. The Organ Within is the result of his ongoing collaboration with instrument-makers Léo Maurel and Vincent Martial, and their research into historical church pipe organs, modular synthesizers, and the sonic experiences of deaf people."

"Close your eyes and think about the last time you were at a gig. How did it sound? The band is rocking out on stage, your friends are talking in a group over to your left, a busboy says "excuse me" as he slides past your right shoulder, and the din of the crowd is all around. Sounds like a club, right? The aim of 3D, or "spatial", audio is to replicate these complete sonic environments-or to synthesize completely new ones. "

"With just a bit of attention, one can enjoy radically spatialized music, with voice and sounds experienced in ways far different to stereo listening."

S.T.R.H. Smoleński's installation fills the main exhibition hall of the Łaźnia Centre for Contemporary Art in Gdańsk entirely, denying viewers a safe distance and pulling them towards its interior. The visual elements consist of massive, static, 3-dimensional objects which generate low-frequency sound at specific intervals. The sound unfolds from a nearly inaudible acoustic pressure into powerful rumblings that shake everything in their path - including the walls of the space and the body of the viewer - and eventually dissipate into complete silence. This way, contact with the work of art becomes a total sensory experience that involves not only the viewer's vision and hearing but their whole body; it is an entirely physical sensation. Though not devoid of a visual presence, the piece makes its impact mainly with sound, which, generated in specific ways, creates the impression of an all-encompassing experience - a synthesis of the senses that combines cues perceived by spatial receptors (eyes and ears) and contact receptors (skin and muscle).

"Sound, as a modality of emotion, is central to the everyday constitution of space. For an increasing population in Canada, however, incarceration forms the basis of everyday life. This paper explores the connections between sound and emotion as they play out in the under-researched context of prisons. I use a participant's term, "feeling the range," to identify the atmospheric, haptic, and emotive potential of sound as a vital tool of spatial knowledge. "