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"In the MASS MoCA portion of this multi-part project, Harmonic Bridge, low sounds roll and drone under the Route 2 overpass half a block from MASS MoCA. Entering the space under the bridge, one becomes aware of a turning eddy of sound in the midst of intersecting streams of traffic. Cars pass by heading north or south on Marshall Street and east or west on the Route 2 bridge, but this linear motion is counterpoised by a rolling, humming C as calming as the rhythm of ocean waves. Although cars stream by, pedestrians lose the impetus to move forward, derailed by this cool pool of sound with its mysterious, chant-like hum. Harmonic Bridge presents an aural cross-section of North Adams, a slice of the city in the key of C, comprised of the fundamental note and its overtone series."

"Suzanne Ciani performs live quadraphonic modular synthesis from Envelop SF, a 32 speaker immersive audio venue in San Francisco. This event was originally live-streamed via Envelop Stream, in collaboration with The Audio Engineering Society in October 2020."

"Suzanne Ciani performs live quadraphonic modular synthesis at Envelop SF, a 32 speaker immersive audio venue in San Francisco. This event was originally live-streamed via Envelop Stream, in collaboration with The Audio Engineering Society in October 2020."

Weather for the blind is a live streaming site of a musical instrument which is played by the weather. The base station - pictured in the foreground - is called Weather Warlock and is located in New Orleans Louisiana. The weather sensors - pictured in the distant surf - are mounted to a post and detect temperature, wind, sun, and rain. This all analog synthesizer produces a wide range of tones and harmonics based around a consonant E major chord with special audio events occurring during sunrise and sunset. Occasionally our streaming will be down. If that is the case, please visit the ARCHIVES to enjoy past weather entries."

A work by Bill Fontana. "Notre Dame has been described as the soul of Paris. As a result of the tragic fire in 2019, its bells have fallen silent. However, these bells were not damaged in the fire and are silently waiting and secretly "listening" to the sounds of Paris around Notre Dame. This is a continuous live streaming sound sculpture that makes audible the simple physical fact that these bells are secretly ringing all the time. I think of this secret ringing as being the heartbeat of Notre Dame. The sounds that the bells produce are created by their harmonic response to the ambient sounds of Paris that surround Notre Dame, as revealed by a live network of accelerometers mounted and live streaming from all ten of the bells. The physical fact that these bells are harmonically excited by the ambient sounds of Paris is a phenomenon that this artwork makes public in a way that will not only be beautiful to hear but will have a healing relevance to Notre Dame's fire, a healing relevance to the suspended sense of time created by the Corona Virus, the tragic war in the Ukraine and the ongoing environmental threat of climate change."

"Lead poisoning can stunt my growth / And mess with my mind / We would like help if you don't mind. Rather than water, words from poet Ken Silas, a student at Carman-Ainsworth High School in Flint, Michigan, flowed through a copper pipe and out of the faucet I'd just turned on, bearing my introduction to Beyond Streaming: A Sound Mural for Flint, conceived by artist Jan Tichy."

"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 November 2019, visitors to the Tate Exchange were invited to experience urban noise as a multi-sensory art installation. The artwork KIMA Noise was developed by the Analema Group over the last two years in collaboration with Dr Stephen Stansfeld (Queen Mary). Audiences were drawing their graphic impressions of urban noise as a real-time sound sculpture. Audiences could experience urban sound from around the Tate as trajectories of sound, travelling through the space of Tate Exchange at Tate Modern. Four real-time streams, from construction noise, to railroad tracks were visualised on the panoramic windows of the Tate's monumental architecture. Through direct experience, the audience learned about the effects of noise, while shaping and designing their own soundscape."

At a time when technological progress is bringing city sounds to the threshold of bedlam it is no longer sufficient to design environments that satisfy the eye alone. Today's city dweller is bombarded by a continuous stream of invisible but highly attention-demanding sounds, smells, and microclimates. His experience of the city is a crazy quilt of sense impressions, each of which contributes to the total picture. It is important to explore the consequences of this invasion of nonvisual sensations on the quality of city life and to ask how manipulation of them might improve that quality. This study explores two aspects of the problem: What is the perceived variety and character of city sounds? How do sounds influence perception of the visible city? Our research is not a scientific experiment, but an exploratory study in which we have attempted to identify those issues that deserve more careful attention in later experimental research and city design.

At a time when technological progress is bringing city sounds to the threshold of bedlam it is no longer sufficient to design environments that satisfy the eye alone. Today's city dweller is bombarded by a continuous stream of invisible but highly attention-demanding sounds, smells, and microclimates. His experience of the city is a crazy quilt of sense impressions, each of which contributes to the total picture. It is important to explore the consequences of this invasion of nonvisual sensations on the quality of city life and to ask how manipulation of them might improve that quality. This study explores two aspects of the problem: What is the perceived variety and character of city sounds? How do sounds influence perception of the visible city? Our research is not a scientific experiment, but an exploratory study in which we have attempted to identify those issues that deserve more careful attention in later experimental research and city design.

"They uploaded 10 tracks of silence to Spotify under the name Sleepify. Then, they put out this video, urging fans to stream the album on repeat while they slept. The band pledged to use the royalty revenue they racked up to fund a tour, where all shows would have free admission. And it worked."

Pulses of inhaled and exhaled air form hypnotic compositional streams. Hans van Eck presents his sound-world delivered from the unique architecture of the bass box.

"framework began broadcasting in june, 2002 on the newly reformed resonance 104.4fm in london. the show now airs on 5 radio stations around the world, with more to follow soon, and streams and podcasts here on it's own website. framework is consecrated to field-recording and it's use in composition, and began broadcasting at a time when a new community of sound artists with a special interest in found sound was developing, a community spread across the world that, thanks to the internet, was no longer limited to a specific geography. framework sees itself as an outlet for this ever-growing and developing community, a folk-tool in a new folk movement, a community driven exchange point for creators and listeners alike. framework's goal is to present not only the extremely diverse sound environments of our world, but also the extremely diverse work that is being produced by the artists who choose to use these environments as their sonic sources. we hope to ask this question: is 'field-recording' a style, or a genre, or is it in fact as uncontrollable and undefinable an instrument or tool as any, that may be interpreted, manipulated, and appropriated by anyone with a microphone and an idea? these works are its definition, and not vice versa."

"In their many (justified) laments about the trajectory of their profession in the digital age, songwriters and musicians regularly assert that music has been "devalued." Over the years they've pointed at two outstanding culprits. First, it was music piracy and the futility of "competing with free." More recently the focus has been on the seemingly miniscule payments songs generate when they're streamed on services such as Spotify or Apple Music."

"The last two decades have seen a striking decline in the quality of sound and listening experience. Compressed music, MP3s and streaming, have diminished the quality and flattened the emotion. Marketing gimmicks and convenience now take the place of excellence. The Distortion of Sound is an eye-opening exposé of the current state of sound starring Linkin Park, Slash, Quincy Jones and more. This documentary will open your ears and inspire you to reach for richer, more soul-stirring musical experiences. "

"Three inverted metal trashcans, with microphones hidden inside. Strategically placed beneath a steady stream of rain drops, from a cracked porch roof. Who composed this? Ask the rain."

"If you flip on a waterfall to fall asleep, if you keep rainymood.com in your bookmarks, if you associate well-being with the sound of streams and crickets or wonder why the beach never quite sounds as tranquil as you imagine, it's because of Teibel. New York's least likely media mogul was the mastermind behind Environments, a series of records he swore were "The Future of Music." From 1969 to 1979, he took the best parts of nature, turned them up to 11, engraved them on 12-inch records, and sold them back to us by the millions. He had a musician's ear, an artist's heart, and a salesman's tongue, and his work lives on in yoga studios, Skymall catalogs, and the sea-blue eyes of Brian Eno. If you haven't heard of him, it's only because he designed his own legacy to be invisible. "

"Sounds of Seismic (SOS) is an art-science, auditory display software system broadcasting continuous seismic sound generated from realtime collected global earthquake data. An internet audio streaming service, SOS webcasts electroacoustic music as multi-channel seismic generated sounds creating an infinite computational earth system soundscape! "

"framework began broadcasting in june, 2002 on the newly reformed resonance 104.4fm in london. the show now airs on twelve radio stations around the world, with regular new additions to its broadcast family, and streams and podcasts here on its own website. framework is consecrated to field recording and its use in composition, and began broadcasting at a time when a new community of sound artists with a special interest in found sound was developing, a community spread across the globe that, thanks to the internet, was no longer limited to a specific geography. framework sees itself as an outlet for this ever-growing and developing community, a folk-tool in a new folk movement, a community driven exchange point for creators and listeners alike. framework's goal is to present not only the extremely diverse sound environments of our world, but also the extremely diverse work that is being produced by the artists who choose to use these environments as their sonic sources. we hope to ask this question: is 'field recording' a style, or a genre, or is it in fact as uncontrollable and undefinable an instrument or tool as any, that may be interpreted, manipulated, and appropriated by anyone with a microphone and an idea? these works are its definition, and not vice versa. "

"RADIOPHRENIA is a temporary art radio station broadcasting intermittently from the Centre for Contemporary Arts in Glasgow. The broadcast schedule includes a series of 14 newly commissioned radio works, 13 Live-to-Air performances as well as live studio shows, screenings, shorts and pre-recorded features. As in previous years the majority of the programme will be made up from selections submitted to an international open call for sound art and radio works."