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"My research is also experimenting with new immersive technology in the areas of vibrotactile experiences, gesture recognition devices and sensor technology that translates body movement into digitally generated sound and image. Each of these technologies has initially been developed to enhance the sensory experiences of those with sensory loss, mental illness or individuals with disabilities."

"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  Far from being outdated, this century-old technology is still integral to much of what we do.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 thesis is an exploration of some of the discourses arising out of the current ecological crises (Haraway 2016; Horton 2017) and argues that radio art is a constructive method for opening out practices of listening, for helping move beyond anthropocentric dialogues, and simultaneously beyond the constraints of dominant modes of storytelling. Ecological Thinking (Code 2006) and concepts of Planetary Time (Dimock 2003) are a useful framework from which to view contemporary radio art practices because they accentuate long and complex networks of interconnectivity, not only within nature, but, more recently, between living beings, technology and the environment. By identifying the interconnectedness of radio and transmission, and the possibility for immersion not only in the content but the process of the medium itself, it is hoped that recognition will be given to the necessity to think ecologically (holistically) in order to create sustainable symbioses between humans, technology and the living and 'non-living' entities of the planet. I begin by providing an outline of anthropocene discourses intertwined with radio and radio art practice. Then I describe and contextualize the radio art work 'chorus duet for radio' (Donovan 2016), positioning it as an example of a collective, trans-scalar listening encounter. I move on to posit radio as a valuable medium from which to critique and disrupt masculinised and westernised (radio) histories, and as an outlet for feminist, queer, and speculative re-tellings of the past. History is viewed here in the same way as electromagnetic radiation: as matter to be untangled. Finally I use the garden radio art project Datscha Radio17 (Schaffner 2017) to give an overview of how radio can be implemented in an expanded way to examine many of the interconnected themes of this thesis: the anthropocene, radio art, ecology, human and more-than-human networks, listening, speculative storytelling, and disruption. This thesis is an explor

"Some questions we aim to address are; How can we analyze and address the increasingly homogenized sounds of urban environments from traffic and other forms of urban "noise"? How can we creatively respond to the effect of urban noise on the loss of character or identity of a place? What are desirable sound environments? How can we establish new codes or behaviors that help shape our sound environments? How can we adapt or modify existing the architectural to develop new acoustic spaces? How can we identify unique or characteristic social patterns that help shape the sonic identity of a place? What role does technology play in this process, specifically newly available and more affordable digital recording technologies? "

"This class examines the ways humans experience the realm of sound and how perceptions and technologies of sound emerge from cultural, economic, and historical worlds. In addition to learning about how environmental, linguistic, and musical sounds are construed cross-culturally, students learn about the rise of telephony, architectural acoustics, and sound recording, as well as about the globalized travel of these technologies. Questions of ownership, property, authorship, and copyright in the age of digital file sharing are also addressed. A major concern will be with how the sound/noise boundary has been imagined, created, and modeled across diverse sociocultural and scientific contexts. Auditory examples - sound art, environmental recordings, music - will be provided and invited throughout the term."

"Open Space 2014" is an exhibition introducing works of media art and other forms of artistic expression born out of today's media environments, to a broad audience. Literally a beginner's guide to media art, the exhibition features leading works from the realm of media art, artworks incorporating cutting-edge technologies, works with a critical standpoint, and in addition, projects that are currently in progress at various research institutions. All of them are being displayed along with explanatory notes designed to help the visitor gain a better understanding, according to our aim to present media art in a fun and easily accessible way. Also on the schedule during the exhibition period are a number of related programs including talk sessions, lectures, symposia and workshops with artists and experts, as well as guided tours around the exhibits with explanations by the curatorial staff. A space that combines ICC's diverse functions, Open Space integrates galleries, a mini theater, and the video archive "HIVE." Since its launch in 2006, the exhibition has been held as an admission-free event with changing contents each year. Based on the mission of ICC, it aims to function as an open platform where possibilities of communication culture and art created with the help of advanced technologies can be presented to a large number of people.

In February 2016, U.S.-based astronomers announced that they had detected gravitational waves, vibrations in the substance of space-time. When they made the detection public, they translated the signal into sound, a "chirp," a sound wave swooping up in frequency, indexing, scientists said, the collision of two black holes 1.3 billion years ago. Drawing on interviews with gravitational-wave scientists at MIT and interpreting popular representations of this cosmic audio, I ask after these scientists' acoustemology-that is, what the anthropologist of sound Steven Feld would call their "sonic way of knowing and being." Some scientists suggest that interpreting gravitational-wave sounds requires them to develop a "vocabulary," a trained judgment about how to listen to the impress of interstellar vibration on the medium of the detector. Gravitational-wave detection sounds, I argue, are thus articulations of theories with models and of models with instrumental captures of the cosmically nonhuman. Such articulations, based on mathematical and technological formalisms-Einstein's equations, interferometric observatories, and sound files-operate alongside less fully disciplined collections of acoustic, auditory, and even musical metaphors, which I call informalisms. Those informalisms then bounce back on the original articulations, leading to rhetorical reverb, in which articulations-amplified through analogies, similes, and metaphors-become difficult to fully isolate from the rhetorical reflections they generate. Filtering analysis through a number of accompanying sound files, this article contributes to the anthropology of listening, positing that scientific audition often operates by listening through technologies that have been tuned to render theories and their accompanying formalisms both materially explicit and interpretively resonant.

"From the early avant-garde Futurists to present-day, utopian dreams litter the history of art meeting technology. When it comes to radio and wireless, these often include the dreams that each new technology will conquer space and time; that the overcoming of distance will enable the symbiosis of human with machine and the union of self with other, while the overcoming of time will bring about a simultaneity of experience. For many radio and transmission artists (myself included), our work with so-called "trailing edge" media seeks to critically engage these myths, positing wireless transmissions instead as time-based, site-specific encounters between people and devices over distances small or large, where the materiality of the electro-magnetic spectrum is experienced within a constantly shifting transmission ecology in which we all, people and devices, function."

"Sound has no center. Unlike vision, sound wraps around you, comes and goes, is fleeting. In the online exhibition SOUND MACHINES, seven artists explore the strange world of sound through new technologies. Their works cross optical and aural domains, creating new interfaces between the realms of sound, technology, and art."

Great example of a technology (or tech failure) leading to new art forms: "The rebajada was created at a party when the Radson [a brand of amplifier] began to sound slow because the turntable's motor ground down. We were scared cause of what happened, but then after this accident people began to ask for the rebajado version [rebajado means lowered or cut down in some way, i.e. slowed down], so we recorded Volume One, Two, Three and one hundred more. Thank god we have the original cassettes. The first cassette was released in 1992 and we sold it at the Puente del Papa market by the Santa Catarina river. My wife began to sell three or four cassettes with a little table and sound system, and thank god we made a lot."

Gilberto Esparza investigates technology as a possibility to pose questions and solutions to the impacts of the human footprint on life on earth, based on a vindication of the intelligence inherent in life and rethinking the relationship of human societies with the natural environment. His practice employs recycling consumer technology and experiments with biotechnology.

Noise for Airports a blog about culture, sound, music, and technology.

"Historical overview of experiments with record players / records - or Scratches from Second-Hand Technology"

"the human telephone was like an electromagnetic update to the oracle at Delphi: a lone female figure with access to distant voices, dancing slowly across a dance floor secretly wired from below, an interactive surface whose hidden technology extended up into her very clothing. "

"With work that is a delightful mix of archaic technologies, Aura Satz explores the complex marriage of human and machine and the uncertainty it engenders in bodily awareness and human agency. "

"An aural history of the Cold War technologies that underpinned the space race and the arms race. "

"It's an exciting time to be a composer or sound artist. Innovations in and new connections between methodology, technology and creative practice are creating a host of new possibilities for the sonic exploration of experience. NOVARS, the Research Centre for Electro Acoustic Composition and Sound Art at the University of Manchester work at the cutting edge of this new territory. So what are these developments? To keep it simple here we will talk about two, both of which relate to space."

"Hear from Meyer Sound and Foster + Partners on how they manipulate and shape spaces through invisible architecture. The creation of spaces that take people into environments that they've never experienced comes with the technological advancements in sound engineering."

Craig Smith, has digitized and shared a 27GB collection of vintage sound effects. The sounds form three collections. They consist of high-quality, first generation copies of original nitrate optical sound effects from the 1930s & '40s created for Hollywood studios. They were collected by a prominent sound editor who worked in the industry for 44 years. The fragile optical elements were donated to USC, and transferred to tape by USC Cinema students in the early 1970s. There are three collections: The Gold and Red Libraries (Gold effects start with "G", Red with "R") consist of high-quality, first generation copies of original nitrate optical sound effects from the 1930s & '40s created for Hollywood studios. They were collected by a prominent sound editor who worked in the industry for 44 years. The fragile optical elements were donated to USC, and transferred to tape by USC Cinema students in the early 1970s. The Sunset Editorial (SSE) Library was also donated to USC around 1990. It includes classic effects from the 1930s into the '80s. These effects are from 35mm magnetic film. They were often several generations removed from the originals, and not as clean, so some careful restoration was done to make them more useful. SSE effects start with "S" About Craig Smith: "I have been recording, editing, & mixing sound since 1964, and teaching sound design and technology at California Institute of the Arts since 1986. In my spare time, I experiment with implied narrative and accidental sound design -- putting together sounds & images that have nothing to do with each other to create unexpected stories."

"What do you think we are not hearing? Can listening encourage us to challenge our assumptions, and change our behaviour and decision-making processes concerning our relations to non-human species? Can human opinions on invertebrates be shifted through listening? I have been developing a process for constructing synthesized "built" soundscapes of hidden sounds. Built Hidden Soundscape: Pipeline Road, Gamboa is a preliminary result from this research. I made the field recordings for this built soundscape while at the Digital Naturalism conference in Gamboa, Panama in August 2019. The video shows a scrolling image of a spectrogram. A spectrogram is a bioacoustic tool that shows how sounds sit together in a soundscape. The Y axis represents frequency (Hz) and the X axis represents time. This spectrogram, however, focuses on 'hidden sounds' - sounds that cannot be heard by humans without the use of technology; sounds that are easily heard by human ears are excluded from this synthesized, artificial rendering of a soundscape. The sound work consists of field recordings from Pipeline Road in Gamboa, bookended by the dynamic dawn and dusk soundscapes of Pipeline Road. This built soundscape includes ultrasonic sounds (above the range of human hearing, played back at lower frequency), substrate-borne vibrations, and otherwise very quiet sounds. "