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"Some of the toughest stuff in nature is spider silk - as strong, ounce for ounce, as nylon. And a silk web makes a great trap for prey, as well as a nice place for a spider to live. But scientists have learned that spiders can do something else quite extraordinary with their webs: They can "tune" them, like musical instruments."

"Despondent folk music has been written about the sound of silence, but the sound of spiders turns out to be much, much heavier. Scientists at MIT have collaborated with Berlin-based sound artist Tomás Saraceno to create a virtual experience that literally instrumentalizes spider webs. This project aligns with more than two decades on the artist's part to deepen our understanding of environmental justice and interspecies cohabitation. Saraceno, Roland Muehlethaler, and Ally Bisshop at Studio Saraceno all participate in the research and development carried out through projects, including "Arachnophilia." "

"After translating the slithering, sliding ways snakes move into robots for more than a decade, Hatton became fascinated by how spiders use silk to swing, make safety lines and interpret vibrations in their webs."

"THE WORLD LISTENING PROJECT (WLP) is a not-for-profit organization devoted to understanding the world and its natural environment, societies and cultures through the practices of listening and field recording. The WLP was founded in 2008 and is supported by the Midwest Society for Acoustic Ecology, a membership organization and regional chapter of the American Society for Acoustic Ecology, affiliated with the World Forum for Acoustic Ecology. The WLP maintains a website and online forum about its artistic and educational activities. These include the use of radio and web-based technologies, conducting public workshops, forums, and lectures, as well as participating in exhibitions, symposiums, and festivals. To learn more and become involved in the WLP's activities please subscribe to our discussion group."

"Locus Sonus is a research group whose main aim is to explore the ever evolving relationship between sound, place and usage. Our methodology places artistic experimentation at the center of our research. Multidisciplinary theoretical approaches dialogue with, nourish and nurture this experimentation and the research sometimes (but not systematically) leads to artistic productions in the form of installations, performances, concerts and web-based projects. Beyond this, Locus Sonus regularly publishes research in recognized journals and takes on an editorial role for special issues. "

"Digital Sanctuaries, Manhattan is an urban soundwalk combining the original music of Electric Kulintang (Susie Ibarra and Roberto Rodriguez) with the visual art of Makoto Fujimura and interaction design by Shankari Murali. Built for both IOS and mobile web app, Digital Sanctuaries invites the public to alight on a virtual pilgrimage through the built environment of a cityscape, finding meditative spaces in unexpected places, marked by an ever-changing musical score. As the audience engages with the music in each place, they are encouraged to discover the hidden qualities of the world without while taking time to contemplate the world within."

This interactive multimedia project historically and culturally situates hearing and listening in eighteenth-century Paris by re-imagining how we might present sonic artifacts to better understand auditioning subjects within pre-recording technology soundscapes. Through multiple pathways and thematic tags, the project simulates how Parisians would have interacted with the web of sonic knowledge that existed in eighteenth-century Paris. The project culls resources from across academic digital initiatives as well as popular, public platforms. This blend of sources puts into question stereotypical distinctions made between academic and public, scholarly and popular. Enjoy exploring Organs of the Soul through a choose-your-own-adventure format. And consider what constitutes your own unique auditory subjectivity.

Locative audio experience at the Brooklyn Museum. "In times of global surveillance scandals, purported no-spy agreements and increasing numbers of whistleblower platforms, with Top Secret International (State 1) Rimini Protokoll enter the global web of state secrets and secret services - the state within the state. In the first part of the tetralogy, which will deal with post-democratic phenomena for two years, an algorithm and a smartphone turn audience members into inconspicuous agents. Playing the role of journalists, visitors will listen in on investigations by foreign intelligence services, put themselves in the shoes of a whistleblower or be fitted with a legend. Between statues in a museum, they can hardly be singled out from other museum visitors. Using subtle gestures, purposeful movements, they access files and archives that open gradually; biographies from politics, journalism and espionage, globally active individuals with security clearance and activists mark out the playing field. The audience members watch and track one another, contact one another, form coalitions or refuse to connect."

"Voice Yard is an online space created to encourage people to listen and be heard. Used to perceiving our world mostly visually, we sometimes forget that sound is another important means of perception and communication. Every object reveals itself not only through its shapes and colors, but also through sounds, sometimes even more telling about its essence. We, humans, have always used our voices as an important means of self-expression and communication. There are familiar metaphors revealing its existential importance, such as "inner voice" and "voice of the heart," referring to an intimate "true nature" inherent in this human ability."

Glitchy sequencer for your browser. Mark Fell and Rian Treanor Programming by James Bradbury Graphic Design by Joe Gilmore Commissioned by No Bounds 2021"

In this podcast, we talk to Antye Greie about language, sound, and the body. At their intersection, the voice emerges, with its multiple resonances and different ways of introducing the voice of others through her own practice and space of visibility. Along the way, we look at her work and methodology, from the deconstruction of texts to the implementation of what she calls "feminist sonic technologies". Permeating everything, we encounter the memory and the experience of having been raised in the values and the political experiment of the former Eastern Bloc and feeling part of a silenced diaspora. Recorded: February 2022.