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"Psycho-Acoustics: Sound Control, Emotional Control, and Sonic Warfare" explores the work of former Stevens professor Harold Burris-Meyer whose research in the mid-twentieth century investigated the use of sound as a tool for emotional and physiological control and played a critical role in the emerging fields of sound design for theater, music for industry, and applied psychoacoustics for warfare."

"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"

"Listen to the eerie sounds of "The Wandering Soul" - also known as "Ghost Tape Number 10" - that was broadcast by loudspeakers installed on Swifts and other units during "Chieu Hoi" and Psychological Warfare missions to "taunt" the enemy. { "So Moui" or "Numbah Ten" was a common slang term used by both Vietnamese and Americans, meaning it was "Really Bad" } "

I see them in the streets and in the subway, at dollar stores, hospital rooms, and parties. I see them silently dangling from electrical cables and tethered to branches of trees. Balloons are ghost-like entities floating through the cracks of places and memories. They are part of our rituals of loss, celebration and apology. Yet, they are also part of larger systems, weather sciences, warfare and surveillance technologies, colonialist forces and the casual UFO conspiracy theory. For a child, the ephemeral life of the balloon contrasts with the joy of its bright colors and squeaky sounds. Psychologists encourage the use of the balloon as an analogy for death, while astronomers use it as a representation for the cosmological inflation of the universe. In between metaphors of beginning and end, the balloon enables dialogues about air, breath, levity, and vibration.

"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"

"This is a zine on sound weaponry use by police. It offers tips on scene assessment and readiness for exposure to the Long Range Acoustic Device (LRAD) at public demonstrations. It also offers some history on police sound and a little bit of info about general acoustic trauma."

"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. "

"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."

""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."

"Zvook" (звук, Ukrainian for "sound") is a project bringing together software and hardware components to identify cruise missiles, helicopters, drones, and jet fighters at low to medium heights. There are currently 40 instances of the system deployed throughout Ukraine. While operational details are scarce, the project's team says that it helps the Ukrainian military locate and destroy Russian rockets targeting civilian infrastructure."

"During the Occupy Wall Street protests, Jeremy Toussaint-Baptiste was hit with a high-frequency sound beam from a long-range acoustic device (LRAD). The sensation is singular: a pain that rips through your ears and into your head. It's "the feeling of irreparable damage being done to your hearing," as the artist writes in "Siren Mode," an essay on the use (and legal misrepresentation) of sonic weapons. "