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"This article seeks to explore the manifold ways in which carceral violence and acoustics intermingle, as manifested in the case of the military prison of Saydnaya-an infamous, state-run torture jail in Syria. As revealed by survivors' ear-testimonies and by the recent digital reconstruction of the prison's interior (available on the Amnesty International website), sound seems integral to the dynamics of power at play in the Syrian prison. A great part of the violence committed there is acoustic, one that is meticulously based on defining properties of the aural experience. "

Samson Young's compositions, drawings, installations, radio broadcasts, and performances touch upon topics such as military conflict, identity, migration, and political frontiers past and present. Sound and its cultural politics are at the heart of a practice that interlays multiple narratives and references. The relationship between violence and sound is a recurrent line of investigation in Young's work, which is often based on extensive research.

"Dr. William W.H. 'Bill' Gunn (1913-1984) was a field recordist, conservationist and early populariser of nature sounds, recording landscapes in the Galapagos Islands, East Africa, Sri Lanka and locations across Canada including its Far North. A key technique in his practice and teaching was sound microscopy-slowing down the playback of his recordings to reveal details unable to be perceived at full speed. This presentation considers Gunn's slowing in relation to a range of contemporaneous practices of slowing (in speech therapy, music composition, etc.) as well as the context of his field and the 'slow violence' of ecological devastation. As listeners, we meditate on the wonder elicited from Gunn's human audience but also the absences, extractions and exclusions entwined with Gunn's exploration of musical microcosms."

"Noise is not the most important problem in the world. Compared to the disasters of famine, war, and global climate change, the existence of "unwanted sound" hardly counts as a problem at all. It rarely emerges as a public issue in countries struggling with the worst forms of poverty and violence. So far as I am aware, there is no Society for the Suppression of Unnecessary Noise in the cities and villages of Afghanistan and the Congo. "

"Crack-k-squutch! A zombie's head explodes in a loud, disgusting gush of decaying brain matter, and the audience gleefully recoils. When it comes to Hollywood, in an era of digital special effects and computer-generated monsters, one of the last provinces of traditional analog elements is Foley art: the sounds that are added to movie scenes to give extra vividness to a head thwack, a creaking chair, or just the ever-present sounds of walking. These sounds are still created using physical props-and very often, those props come from the kitchen."

"Silenced voices of disappeared dissidents and migrant slaves. Melodies lost to the violence of empire. Vanished monuments marking anti-colonial choruses. Hidden, transgressive dances of migrant domestic workers. Inaudible and obscured, these sounds and movements haunt Hong-Kai Wang's work. Rather than erecting monuments to these pasts, Wang uses listening, sounding, and singing as conduits to these lost or absent acts across temporal and geopolitical distances. This practice, situated around sound both real and imagined, might be described as anti-monumental."

We Come From Your Future is a sound investigation into the future of anti-racism in the UK. It asks how the public discourse on ethnicotherness, diversity, and multiculturalism may contribute to the very conditions of racism? How has the erasure of terms like anti-racism, racist violence, and justice from the official bureaucratic language actually worked to both conceal and foment new convergences of racial tension? How has the composition and re-composition of migration in the UK contributed to new lines of anti-racist experience and opened up to new fields of struggle? What are the obstacles for a re-constitution of an anti-racist movement?

"To read Susan Sontag's 2003 essay, Regarding the Pain of Others, with pencil scribbling references to current-day wars is to be expected. Hers is a profound rethinking of the intersection of news, art and contemporary depictions of violence and our memories of them. So, too, could the word "Ferguson" be readily jotted in the margins. Meandering the intersections helps us navigate memory well beyond any of the recent conflagrations between Black citizens and militarized police forces in U.S. cities. "

"Neuhaus sees his role in the siren project as basically that of an eminently qualified and imaginative sound technician; he looks outside the art context for the project's ramifications. It is the mandatory localization and identification of the alarm sound by the hearer, rather than any emotional representation of it, that he feels must be emphasized."

"The Vienna-based group Iraqi Autumn draws attention to the international community's silence regarding the outbreak of violence in Iraq over the past two months."

"After hearing about the murder of Trayvon Martin, the unarmed teenager who was shot to death by George Zimmerman in a gated community in Sanford, Florida on February 26, 2012, I grappled with the urge to grab my godsons, nephews, cousins, brothers, and husband and never let go. I grappled with the Du Boisian question of the color-line, redressing it to consider "what does it feel like to be not only a problem but a target?" With these thoughts in my mind, I especially grappled with listening to the audio records of the 911 calls documenting the death of Trayvon Martin, just released late Friday March 16thby the Sanford police department."