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"An open source research project exploring the role of machine learning as a tool in the creative process."

Amazing online tool that allows you to create vocal sounds my manipulating the shape of the interior parts of the mouth (tongue, palette, throat, etc) and also the lips.

"The noise sounds like wind, or heavy rain, or the steady hum of an airline jet. It sounds like water rushing somewhere in the distance, like a gentle fan ruffling currents of cool air. It's soothing, steady, slightly rumbly. Welcome to the cult of BROWN NOISE, a sometimes hazily-defined category of neutral, dense sound that contains every frequency our ears can detect. Brown noise is like white noise but has a lower, deeper quality. It gained a fervent following over the summer, picking up speed in online A.D.H.D. communities, where people made videos of their reactions to hearing it for the first time. Many said it allowed their brains to feel calm, freed from an internal monologue. Some invited their viewers to try it too, and commenters chimed in, claiming that brown noise was not only a tool to help them focus, but could relieve stress and soothe them to sleep."

"Electromagnetic fields are everywhere and this workshop provides the basic tools for sensing the invisible universe that surrounds us by providing sonic, haptic and visual feedback on our bodies. "

Inspired by a Lego time machine her son built, Iceland-based independent producer Rikke Houd created a tool to help producers take advantage of the vast space radio offers."

"In this edition of Fusion Journal we wish to explore the act of listening to the land, to others, to difference, as encountered in embodied and virtual spaces. We especially encouraged contributions that represent creative practice as well as more traditional text-based articles. How might we attempt to interpret what is being said in languages we do not understand? How might we resist - even if just for a moment - adding our own sounds to the noises of the neoliberal project of the anthropocene: the clashing music of the shopping mall, the automated voice, the shock jock, the celebrity, the power tools, the leaf blowers, the bulldozers, the mining blasts. How might we listen out, or tune in, to the small, the subtle, the unnoticed, the dying, the unusual, the banal, the mad, the unexpected?"

"The World According to Sound's listening series has breathed new life into stagnant stay-at-home days and given me a meditative tool for coping with ever creeping anxiety."

"Sampling is a production tool that is fundamental to electronic music. A seemingly simple act - taking small bits of prerecorded sound, often from an existing composition, and incorporating them into a new piece of music - has in the past few decades proven to be a revolutionary cultural force. An essential element for the development of hip-hop in the 1980s, as well as for electronic music scenes concurrently taking shape around the world, sampling helped lower the barrier of entry for potential music makers: No longer did a producer need studio access or a group of musicians to make full and rich productions. Instead, they could dig for loops and breaks from a wealth of existing material and use the pieces they found to create new compositions. The process also allowed the artists to insert themselves into a different type of musical timeline, traversing and connecting decades of sounds in a way that would have been impossible before the dawn of sampling."

"A new art expedition aims to record qualitative and quantitative data with a custom-built set of tools on a year of trips through some of the most fascinating places in America. " " Up first, we see their very low-frequency antenna, which they built from a kit developed by Stephen McGreevy with Christopher Woebken's design. The antenna captures the sounds of spaceweather, the nice name for the environmental conditions created by the sun casting particles at the Earth. As Geoff told me, "You can walk right up to the tripod, put on green headphones, and zone out to the otherworldly whistles and pops of the Earth's magnetosphere."

"The ElectroAcoustic Resource Site (EARS) project has been established to provide resources for those wishing to conduct research in the area of electroacoustic music studies. EARS will take the form of a structured Internet portal supported by extensive bibliographical tools. To aid the greater understanding of the opportunities offered by these radical forms of sound organisation, as well as their cultural impact, the project will cite (or link directly to) texts, titles, abstracts, images, audio and audio-visual files, and other relevant formats. "

"Sculpture-situated within the sensibilities of space, embodiment, and the physical world-offers a richly speculative arena for experimentation with materials and technology. The continuing expansion of practices reminds us that sculpture no longer resides in a world of "things": contemporary physics now reformulates "solid" matter as process and flow, foundational concepts for art are now redefined or dismantled, and virtuality often stands in for the "real." The implementation of sound created by artists as sculpture has contributed robust tools and a new sense of identity for these changing boundaries. Yet while sound has become almost ubiquitous in contemporary art, it has garnered scant scholarship, and its artists are often neglected. "

"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. "

In Resonance: The Journal of Sound and culture "This paper explores the cultural ramifications of music generated by artificial intelligence (AI). Deploying complex algorithms to create original music productions, AI's automation of human authorship may suggest a radically new sonic form. However, its creators have preferred to use its tools to mimic established musical genres from the past. "

ELECTRONICOS FANTASTICOS! is a project where retired consumer electronics are resuscitated as instruments, new ways to play music are invented, and all kinds of people are invited to be orchestrated with the artist and musician Ei Wada. Once we dismantle old consumer electronics, we realize the condensed wisdom of pioneers and the interesting and mysterious scientific/physics phenomenon hidden inside these objects. By transferring these into electronic musical instruments, a sound like a groan of electronics begins to echo. Old consumer electronics come to life as yokai-supernatural creatures from Japanese folklore, sometimes they appear as spirits of abandoned tools.

"The "Sonògraf" is an electronic audiovisual instrument. Thought as a music learning tool for primary schools, it allows the drawing to be transformed into music, turning gestural strokes and geometric figures into electronic sounds. A set of buttons and potentiometers allow live manipulation of the "sonification" characteristics of the drawing, making it possible to speed up, slow down or pause the resulting music, as well as decide its scales and tonalities."

"VOSIS is a synthesizer that creates complex wavetables by scanning and filtering greyscale pixel data from images, videos, or live camera input. The audification and filtering of pixel luminance correlates visual shape to sound timbre. Scan rate in terms of octave, interval, and scale allows for use as a musical instrument. Thus, VOSIS is a tool for image sonification, sound design, and visual music composition."

"Who raises the alarm, and in whose interest? What might a siren sound like for the entangled human, non-human, and more-than-human? This collection emerges from and expands upon a three-day program at Tate Modern, held alongside the premiere screening of Aura Satz's film Preemptive Listening. The programme brought together musicians, artists, historians, sociologists, and activists (several featured in the film), to think through the siren-not simply as an emergency signal, but as a tool for listening, remembering, sensing, and reimagining. Speaking to the sirens that are and those that could be, from sonic warfare to ecological disaster, the conversations circled back to recurring questions of how we might rewrite the scripts of urgency, survival, and resistance. "

"M.A.P // A.M.P Music Library aims to create a repository of activist music, which will serve as an archive to amplify the reach of music as an expression and a tool of social and political activism. This library is an effort to bring together such voices from the region that may have gone unheard. In the process, we hope to create a rich and diverse range of activist music that will span all genres and generations of music and poetry."

In the decades following World War II, the musical score emerged as a unique and powerful medium for experimental art. A new movement of visual artists, composers, poets, and performers reimagined the score-traditionally defined as the written representation of a musical composition-as a tool for structuring experimentation in the nascent fields of performance art, conceptualism, and intermedia. They drew inspiration from unconventional musical notations devised in the early to mid-1950s by the composers Earle Brown, John Cage, and Morton Feldman. The new movement's use of experimental scores spread during the 1960s through publications, festivals, concerts, classrooms, networked correspondence, exhibitions, happenings, and a renewed awareness of score-like antecedents in the charts, diagrams, sketches, and written instructions of earlier avant-gardes, from Dada and Surrealism to the Bauhaus. By the later years of the 1960s, diverse communities of artists, musicians, poets, and dancers had transformed the possibilities of the score into an ever-expanding universe of textual, symbolic, and graphic marks. They used experimental scores to stage a multitude of practices that dismantled and recast the traditional boundaries of artistic media.

"In 1978, Brian Eno released Ambient 1: Music for Airports, a landmark album in ambient and electronic music. Although it wasn't the first ambient album by any means, it was the first album explicitly released as an 'ambient music album'. The album was essentially a continuation of Eno's experimentation with the tape machine as a compositional tool, as well as his exploration of generative music, music created by systems. In this article I'll discuss how Music for Airports was created, I'll break down and recreate the tracks 2/1 and 1/2, and hopefully give you some ideas about how to adopt this approach yourself."