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It was the anthropologist's desire to understand the many ways that sound can be meaningful, coupled with the artist's ability to 'think outside the box', - leading to talk of thunderstorms harmonizing with jazz concerts and 'contrapuntal conversations' - which gave us the theme of the conference - 'The Body, the Environment, and Human Sound-making'. This conference, with its many complementary papers and presentations, you see and hear here now. Steven Feld suggested that a new form of media might help give the papers the voice they needed. We took this advice, and hope that the possibility to hear the sounds and see the visuals of many of the papers as you read them gives an important new dimension to the conference proceedings.

Another nice looking physical representation of a sound wave is created by Andrew Spitz from { sound + design } in collaboration with interaction designer Andrew Nip. Paper Note is made using a laser cutter to create discs of paper who form the waveform when joined on a piece of string.

"Researchers at MIT, Microsoft, and Adobe have developed an algorithm that can reconstruct an audio signal by analyzing minute vibrations of objects depicted in video. In one set of experiments, they were able to recover intelligible speech from the vibrations of a potato-chip bag photographed from 15 feet away through soundproof glass."

"Images extracted from the latter half of Choregraphie, a book first published in 1700 which details a dance notation system invented in the 1680s at the court of Louis XIV."

"While exploring language and its political, social and cultural roots in many of her artworks, artist Inmi Lee became fascinated with the question, What does the pure form of sound look like? For her piece, Mother, she attempted to answer this question: a collaboration with code artist Kyle McDonald, Mother translates sounds into objects. Claims Lee, "It's one thing to hear a sound- it goes into your ear and dissipates." Representations of sound, however, "Reveal certain relationships between sound and shape.""

"Artist Jules Gimbrone contemplates what a world would look like if we didn't privilege the sense of sight. This audio excerpt is presented in association with the exhibition The World Is Sound."

"Spectroscapes explore music as physical models that are generated from the signal strength of frequencies present in the waveform of an individual song."

"Acousticians cannot yet comprehensively quantify the acoustic character of spaces. There is a lot we know about acoustic design, but there is a great deal to be learned. Excellent concert halls are a rarity even for the most experienced teams and well-funded projects. When the scaffolding comes down, acousticians are granted short windows of time to listen, measure, and tune. Acoustic parameters are extracted and a report is delivered, and usually relegated to a dark corner of a server. Design decisions made years earlier become irreversible in the built condition as the first audiences listen closely. Opinions either aggregate or dissipate, at best tenuously connected to measurable metrics. Design teams move on once a building is occupied; innovations become hard to mine and harder to embed deep enough to take root in our methods."

"Commissioned by The Store X The Vinyl Factory, this site-specific iteration of Our Time is one of three works in the Other Spaces show. With a new score by electronic musician Mira Calix, this atmospheric installation aims to manipulate our experience of time. As the kinetic sculptures swing in and out of phase, they project light and sound and transform the space they occupy."

"Socks is a non-linear journey through distant territories of human imagination."

"Spanning the 42 St. Connector between Times Square and Bryant Park in New York City is a troupe of dancing figures dressed in vibrant costumes of feather and fur. The ebullient characters are based on the iconic series of Soundsuits by Chicago-based artist Nick Cave (previously) and are the first part of a massive permanent installation titled Each One, Every One, Equal All in the public transit corridor."

"Ryuichi Sakamoto, Daito Manabe"

"Sound as Color is an exploration in converting audible frequencies to electromagnetic waves perceptible to human eye relative to that of the audible frequency range of the input sound signal."

"WaveCloud-M is Matlab-oriented simulator which uses the Finite Difference Time Domain (FDTD) method to solve the linear acoustic wave-equation numerically. It originates from a simulation tool which I designed in 2010 to model rooms for my PhD thesis, which is called WaveCloud (without the M). The original WaveCloud project relies heavily on parallisation on a GPU and facilitates a means for large-scale modelling. Even though it is a powerful tool, it relies on specialised hardware and can be somewhat cumbersome as it requires some machine-specific tweaking. I have listened to feedback from many users, and accordingly, I decided to create a new version of WaveCloud, which can be run 'out of the box' from within Matlab, and does not require building any third-party components. This version only shares the name with the original WaveCloud, and its engine was re-designed from the core."

symposium

"Pressure Sequence started out as a question: Dancing is body language at it's purest. But can you transform, translate this language? What happens if you strip away the visual layer? Is it possible to create a virtual dance, just out of sound? Does dance survive this transmission? Do we create new images? Is it still dance? Do we move along?"

The voice is what is really at stake in modernity, the voice as specified substance of language everywhere triumphantly pushed forward. Modern society (as has been repeated often enough) believes itself to be ushering in a civilization of the image, but what it actually establishes overall . . . is a civilization of speech. - Roland Barthes, "Lesson in Writing" (1968)

"Welcome to the Resources Section. These resources provide useful information for the creation of audio games, game accessibility and background information of the industry in general."

Kathy Hinde is an audiovisual artist inspired by behaviours and phenomena found in nature and the everyday expressed through audiovisual installations and performances that combine sound, sculpture, image and light. Composed of hand-made objects, electronics and a blend of digital and analogue systems, her work represents a cross between kinetic sound sculptures and newly invented instruments. She frequently works in collaboration with other practitioners and scientists and often actively involves the audience in the creative process.

"Vivid images used by scientists capture sounds that soothe and nurture us - and some that jar the natural soundscape"