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"Audible Inaudible is a term keyed by ethnomusicologist Martin J Daughtry where the violent sounds of war become muted by its auditors as a mechanism for survival. I have multiple memories that involve the terrifying sound of the air raid siren so I started the research in how to translate a sonic memory into object. This lead me to Martin's a book titled "Listening to War, Sound, Music and Survival in Wartime Iraq" where he describes an interview with a mother shielding her children from the violent sounds of war by holding them tight and pressing her arms against their ears. Her body, her flesh then acted as a perfect, natural micro environment to protect her children. I wanted to mimic this concept of "flesh as defense" so I introduced pyramid acoustic foam in the paintings; a material that "detains" sound. I started surgically cutting my linen and pushing the foam through it from the back. As it was penetrating the surface I felt as if I was conducting an operation of resistance. These calculated cuts and wounds were enabling the painting to breathe. Inhaling and exhaling it was reacting, resisting, defending and accepting these sonic wounds."

"For Hong Kong artist Samson Young, however, war sounds less obviously martial; indeed, it's pretty random. It's calm, somewhat foreboding - human, organic, often silent but with bursts of technological noise. And most importantly for Young, war sounds musical. Visitors to the artist's current exhibition at Team Gallery, Pastoral Music, see him sitting in the center of the room wearing fatigues, staring into an obsolete television monitor, surrounded by a surfeit of sound-making devices, some traditionally musical, like a contact mic hooked to a bass drum, and some definitely not, like soil, a room fan, Corn Flakes. What's going on exactly? The unconventional musical scores hanging - or, in some cases, drawn directly - on the walls suggest that Young's restrained movement amid the mess of sound-producing gadgets must constitute a musical performance."

"The result was "Sound Wounds," performed at the Asian Art Museum late August, in which Kahraman invoked the war through sound and archival imagery. While conducting research for the project, she found a recording of the air raid siren. Although it made the hairs on the back of her neck stand up, she listened to it over and over in her studio so that she could access her memories."

"In these works, Sung Tieu looks into alleged sonic attacks targeting the U.S. and Canadian embassy staff in Havana in 2016. This installation includes video, sound, texts, and architectural interventions that attempt to understand the incident, highlighting the impossibility of ever fully knowing what happened. Along these series of works, Sung Tieu also refers to other subjects related to the psychological dimension of warfare and acoustic weaponry, such as her research for the film No Gods, No Masters (2017) which focuses on Operation Wandering Soul, the U.S. military operation during the war in Vietnam in the 1960s"

"Using bone conduction, a technology developed for hearing devices, the touch echo installation transmits sounds of the cities which were devastated in the 1945 carpet bombing in the Second World War, through the arms of the visitors when they rest their elbows on the balustrade and hold their ears closed."

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

Christopher Cerf, an award-winning composer for the American children's television series Sesame Street, was so disturbed by the use of his songs as psychological torture by the US during interrogation operations in Guantanamo in 2003, that he embarked on a journey with Al Jazeera World to interview a number of scientists, US Army personnel, and ex-detainees, to learn more about the psychological effects of music, and to uncover the history and use of music in torture. Among the people Cerf interviews are a US Army interrogator, a former Guantanamo prison guard, an ex-Guantanamo and Bagram detainee who recounts the use of Metallica and Marilyn Manson in torture during his time in prison, and the heavy metal band Drowning Pool, whose song "Bodies" was dubbed an unofficial soundtrack of the US military, and whose music was also used to torture prisoners.

"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. "

""The Ears Between Worlds Are Always Speaking is a long-form, 2 channel hyper-directional 4 act opera projected upon the ancient ruins of Aristotle's Lyceum. For this work there is no physical intervention onto the site, with the exception of sound produced by 2 LRADs - LONG RANGE ACOUSTIC DEVICES - that are mounted on rooftops around the campus periphery. At the installation, audiences experience a shifting call and response hyper-directionality of sound when walking around the ruins of the school. The Lyceum, situated between the Athens War Museum, Hellenic Armed Forces Officer's Club, and Athens Conservatory of music, offers a rich environment for engaging oral tradition, contemporary and ancient history, as well as a sense of embodied learning."

"Almost 100 years ago, shortly before the outbreak of the First World War, the Italian Futurist Luigi Russolo proposed the idea that urban and industrial sounds, including the noises of modern warfare, were a new and enthralling source of musical material. Their nature was unprecedented - their intensity, volume, texture and shape - and so musical history should come to an end. The slow evolution of musical language had suffered a massive stroke, to be replaced by a vigorously healthy art of noises. Musician and composer David Toop looks at The Art of Noise"

"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. "

"What does it sound like to look for a lost loved one? This art installation doesn't look away from the horror and pain of that reality. At University Museum Contemporary Art in Mexico City last year, multiple speakers wrapped visitors in a sonic collage, recorded from a group of civilians, made up of mostly women, who search the desert for "clandestine graves" of missing loved ones."

"Cornelius Cardew was a fascinating figure. Both in his life, and through his music, he posed questions with which I find myself in equal sympathy and conflict. He is undeniably one of the most important figures in the Post-War British avant-garde. Cardew, by all accounts, was a prodigy. During his early twenties he worked at the highest levels of performance. In 1958 (age 22) he won a scholarship to study at the Studio for Electronic Music in Cologne, and was promptly asked by Karlheinz Stockhausen to serve as his assistant. Stockhausen's recollections of Cardew are drenched in respect. He was one of the few people whom he allowed to work on his scores unsupervised. During the late 50's, influenced by John Cage and other members of his generation, Cardew abandoned Serialism and began to compose scores utilizing indeterminacy and experiment. It was this period of his work for which he is most remembered, and from which Treatise (our subject) comes. In 1967 he joined the iconic free-improvisation collective AMM with Lou Gare, Eddie Prévost, Keith Rowe and Christopher Hobbs, which advanced his sense of compositional possibility. The following year with Howard Skempton and Michael Parsons he formed the equally important Scratch Orchestra, which grew into a large ensemble, preforming over the following four years."

"This is the most awesomely surreal architectural proposal of 2015: an extremely remote Cold War-era submarine surveillance station on the Isle of Lewis in the Scottish Outer Hebrides might soon be transformed into a kind of benthic concert hall for listening to whale song."

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."

"Lawrence Abu Hamdan is an internationally celebrated artist who works with sound and an internationally recognized expert forensic listener. He likes to call himself a Private Ear. Your host visits Lawrence in Beirut to hear more."

"Sound has been used throughout history as a way of exerting power and control. Today, hi-tech sound techniques and playlists of "extreme" music, from children's TV themes to death metal, are employed as weapons of torture and espionage. Room40 boss and experimental musician Lawrence English explores the phenomenon and explains the impact sound has on all of us."

"Award-winning musician Christopher Cerf has composed music for the famous children's television show Sesame Street for 40 years. During this time, he has written more than 200 songs intended to help children learn how to read and write. But these innocent children's songs were abused for inhumane purposes."