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"Neuhaus builds what he calls "sound works," more than 30 so far, that transform physical "places," most of which exist for other reasons. The premise is that we perceive space with our ears as well as our eyes: We hear a room as well as see it. The change is basic but subtle. A total of five - including two opened this spring on a bridge and in a corridor in Bern - are still running. Having toyed with such terms as "installation" and "sound environment," and trying to determine whether he can be called a sculptor or not, he still has trouble defining what he does. Ask Neuhaus what he is, however, and he answers without delay: "I'm an artist." "

"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."

"Concentrating the mind and standing still often seem two of the most elusive experiences in New York. In To a Great City, the second edition of the Guggenheim's multidisciplinary stillspotting nyc program that ran from September 15-18 and 22-25, Estonian composer Arvo Pärt and the NYC- and Oslo-based architectural firm Snøhetta sought to provide New Yorkers with opportunities to do just that. At five sites located along the perimeter of Ground Zero, Pärt's minimalist, monastic compositions permeated a series of spaces where large white balloons were the only physical alterations to already naturally seductive spots. The installation was a clear ode to New York, and the tenth anniversary of 9/11 was both physically and psychologically just beyond the immediate experience, providing a quiet and elegant elegy."

"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. "

"n urban areas, silent places where one can enjoy some quietude are getting more and more scarce. There's a lot of what some might call "noise pollution", sound harmful to human health and disturbing a balanced life. With cities still getting more crowded and thus louder every year, no wonder that this is quite a hot topic, also with artists. We saw Music for Forgotten Places by composer Oliver Blank last year for example, a project where one can dial a phone number on a sign to hear some music for a silent place in the city, and take a mindful moment in a busy city."

"When did you last use radio technology? If you're straining to remember when you last turned on the AM/FM radio broadcast receiver in your car, you've probably gone too far back. Although it might not come to mind when we think about radio in the digital media era, things like GPS, wireless computer networks, and even our mobile phones use radio waves.  Far from being outdated, this century-old technology is still integral to much of what we do. "On the one hand, it's very ambient. We don't notice it," says Rick Prelinger, an archivist and professor emerit of film and digital media at the University of California, Santa Cruz. "But radio is also deeply engaged with the world." "

"This curated collection is part of a broader research endeavor in which data, sonification and design converge to explore the potential of sound in complementing other modes of representation and broadening the publics of data. With visualization still being one of the prominent forms of data transformation, we believe that sound can both enrich the experience of data and build new publics."

"today there are various sophisticated methods to locate sound (acoustic camera, methods of acoustic holography, microphone arrays), but known visualizations by spectrograms still strongly remind of thermographic images. acoustic shapes, unlike thermographic ones, differ from the contour of the measured object. image overlays make it even more difficult to read and compare the results."

The idea for Sonic Bicycle Ride combines Beijing's bicycles - still very evident despite the traffic - with the sampling loudhailers used by street vendors to advertise their wares. These inexpensive devices record eight-second slogans, which playback repeatedly, and loudly, until the batteries go flat. For Sonic Bicycle Ride, eight loudhailers were attached to eight bicycles and used to play specially created sounds as they were cycled around Beijing's streets. Routes were planned through the Xicheng district - an older hutong area crossed by a few busy roads - so that the bikes would be heard in changing combinations, sometimes as one large group, sometimes on their own. The eight layers of sound were designed to be heard separately or to harmonise when brought together. Listeners could follow on their own bikes or stay in one place. Bystanders heard the piece emerging in and out of familiar neighbourhood sounds. "

"Reporter Larry Massett tells us about a man who offers a tongue-in-cheek Language Removal Service. It advertises a "laboratory that is the only one of its kind in the world - facilities include our state-of-the-art vocal observation chamber and a special storage facility for our archives, including the world-famous Raymond Chronic Static Language library." What you get after the language is gone are breaths, sighs and mouth sounds . The service is a joke - but when applied to famous voices, it's still possible to determine who you're listening to."

Can you really detain people because their phones are beeping? And when you cannot tell who is protesting, is it still a protest?

There's a secret jazz seeping from Washington's aging Metro escalators - those anemic metal walkways that fill our transit system…they honk and bleat and squawk…why are you still wearing those earbuds?

Lying minutes off the coast of the Bronx mainland is City Island. Spanning only 1.5 miles in length and occupying space off the coasts of both New York City and Nassau County, its singular location and history make the island a living laboratory for exploring New York City's history and future. The entire length of City Island can be easily traversed by foot and the surrounding water can be seen and heard from virtually all points. This proximity to the water lends City Island residents a unique perspective, as they enjoy many of the conveniences of an urban life, yet still maintain a close relationship with the water. This walk will incorporate anthropological 'field study' techniques. The participants will be engaged in exercises designed to observe the environment and decipher its visual and aural 'cues'. The group will uncover the relatively unknown wonders of this "island existence" that thrive within the confines of an urban environment.

"Rabbit Travelogue was originally initiated by Rita Hui and Edwin Lo. This project is an on-going dialogues and travelogues between the two artist (Rita on visual; Edwin on sound) about the changes and happenings in Hong Kong. Through the fictional character in the project, Rabbit, witnessing happenings and locating different scenes in Hong Kong, this project tries to articulate the two artists' discussion about the changes in cityscape, soundscape as well as questioning and exploring the essence of memories about the environments that we have been. Past and present; absent and present; the artists are still in adventure among these."

""I can hear with my knee better than with my calves." This statement made by Bernhard Leitner, which initially seems absurd, can be explained in light of an interest that he still pursues today with unbroken passion and meticulousness: the study of the relationship between sound, space, and body. Since the late 1960s, Bernhard Leitner has been working in the realm between architecture, sculpture, and music, conceiving of sounds as constructive material, as architectural elements that allow a space to emerge."

Feedback is a phenomenon which is not uncommon in sound art. Steve Reich's Pendulum Music used swinging microphones over speakers to create different tones in a certain rhythm, already back in 1968. There is something primeval about feedback, the way it can run out of control and become chaotic. Because of that, it's no wonder there are still a lot of artists working with it.

"Until the arrival of the phonograph nearly 140 years ago, the only way to have music in the home was to perform it. Royals and the wealthy supported composers and performers to provide entertainment in their manor houses and castles; their residences often featured music rooms, where instrumentalists were presented front and center, like artwork on display. Other abodes placed the musicians in a separate room or loft, acoustically connected to grand halls to provide discreet accompaniment for banquets and events. Oddly enough, that dichotomy-show of the music, or hide it-still exists, even in our modern, electronic era. "

"In what we do, sounds don't just happen to exist with an 'in-built' and 'necessary' essence; they don't just have an "in-itself" by default. And even if, from time to time, there could still be a trace of the source that could have produced such sound, it is but one of the many possibilities of what a sound event or a sound object [2] may potentially be or become to us: A sound is, in our hands and in our films, the thing, not in-itself but as it makes itself manifest to the listener"

Centuries of Sound is an attempt to produce a set of mixes for every year of recorded sound. Starting in 1860, a mix will be posted every month until we catch up with the present day. So far we are still in the very early days, where a very limited selection of recordings are available, but as we get into the 20th century I hope to include the widest possible spread, both in terms of geography and genre. This will mean that experts will be required. If you are interested in putting yourself forwards as an expert on Rembetika, early microtonal recordings, French political speeches, Tagore songs or anything else, then please do drop me a line at centuriesofsoundmail at gmail.

"Last year, while i sat down listening to the speakers of the Open Fields conference in Riga, i learnt about the existence of the Kola Superdeep Borehole, the deepest man-made hole ever dug into the Earth crust. Lucas van der Velden, director of the fantastic Sonic Acts, was presenting Dark Ecology, a three-year art research and commissioning project which invited participants to re-evalute our definition and relationship to the environment. One of the works commissioned was Justin Bennett's Vilgiskoddeoayvinyarvi: Wolf Lake on the Mountains, a sound walk that takes us inside the now abandoned and very decrepit research station in the company of the last worker still living there."