"Concentrating the mind and standing still often seem two of the most elusive experiences in New York. In To a Great City, the second edition of the Guggenheim's multidisciplinary stillspotting nyc program that ran from September 15-18 and 22-25, Estonian composer Arvo Pärt and the NYC- and Oslo-based architectural firm Snøhetta sought to provide New Yorkers with opportunities to do just that. At five sites located along the perimeter of Ground Zero, Pärt's minimalist, monastic compositions permeated a series of spaces where large white balloons were the only physical alterations to already naturally seductive spots. The installation was a clear ode to New York, and the tenth anniversary of 9/11 was both physically and psychologically just beyond the immediate experience, providing a quiet and elegant elegy."

This site explores and archives the many questions, compositions and ramblings of sound that listeners and creators experience. From abstraction to music, all forms of sound art and experimental recordings will be presented here. Every entry has a playable audio clip with relevant photography and notes. It is my goal for this site to capture the interests of audiophiles, artists and the merely curious. Sound is Art showcases recordings from around the world and submissions for sharing work on this site is open to all. Please note that I am not a critic or an agent. I am a sound artist. I run this site to give back to the artist community and to honor the beautiful sound work that often goes unheard.

"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."

"For over a year now, London has been a simmering site of dormant musical gatherings and suspended physical proximities, prompting me to wonder what's happened to the visceral, tactile energies through which collective musical formations gain so much of their social and emotional force. As Ben Assiter points out, the migration of electronic dance music online during the pandemic accelerated currents that were already underway with the ubiquity of livestream platforms like Boiler Room. With physical assembly prohibited, the dematerialization of collective musical experience gave rise to a whole new level of face-to-screen "participation," as solitary DJs began broadcasting live from empty clubs to bedroom audiences, who in turn performed "ironic dance floor interaction[s]" in the chat boxes."

"Talbot Rice Gallery and Edinburgh Art Festival unveiled a new sound installation by artist Emeka Ogboh (b. 1977, Nigeria) at Edinburgh's Burns Monument on 29 July 2021. The public artwork, co-commissioned by Talbot Rice Gallery and Edinburgh Art Festival, is a response to the ongoing theatre surrounding the UK's departure from the European Union."

On 29 January 2020, as the United Kingdom departed the European Union (EU) and as a final gesture of farewell, Members of the European Parliament (MEPs) took to their feet in Brussels, held hands and sang Robert Burns' 'Auld Lang Syne' - a song which has come to represent solidarity, friendship and open doors. The following week, Nigerian artist Emeka Ogboh stood in the Robert Burns Monument in Edinburgh and conceived of Song of the Union, a sound installation featuring singers from all 27 EU member states living in Scotland today, as well as one from the recently departed UK. The resulting polyphonic choir gives voice to those who were unable to vote in the 2016 Brexit referendum, and has been created at a time when the post-Brexit reality is still far from resolved.

"With work that is a delightful mix of archaic technologies, Aura Satz explores the complex marriage of human and machine and the uncertainty it engenders in bodily awareness and human agency. "

"In many ways, Samson Young is the ideal sound artist - he is a composer with a PhD in music from Princeton. I asked Samson if he was bothered by being defined by the label "sound artist," which is frequently applied to him. He replied understatedly: "Some of my works are not about sound." But when I looked at those works, I found that they were surely about sound - or, at the very least, they could be understood from the perspective of sound art. In fact, his non-musical practices always begin with a keen sensitivity to sound and invite us to perceive sounds that are typically not heard."

"Two recent exhibitions by Icelander Jónsi and a current one by Oslo-based American Camille Norment reveal how innovative and impactful these two sound-based artists really are. While they certainly differ, they also have much in common. Both utilize sound - melodic and dissonant, subtle and emphatic - in immersive installations that respond to and also transform architectural spaces. Both are acclaimed musicians and composers; their experience as live performers no doubt influences their artworks. For both, sound in their work is music, or song, and also a primary material - they sculpt with sound. Both artists' works are also palpably soulful: they affect visitors sonically, visually, emotionally, and - very likely - spiritually too."

"O'Daniel has worn hearing aids since she was 3. The ones she has now are digital, and sometimes they give her a heightened sense of sound: A car engine hum becomes earsplitting. Within daily experiences of frustration, and I do a lot of compensating, there's also this kind of radical, heightened attention," O'Daniel said. "And that mix, I find just fascinating. O'Daniel has spent most of her art career focused on recreating those jarring sounds.

Art cannot be created or destroyed - only remixed. In a convincing talk from TEDGlobal 2012, director Kirby Ferguson highlights that remixing, referencing and reproducing previous innovations allows artists to engage in a cultural dialogue and allows art, technology and society to continue evolving.

A device that converts the electrical impulses of plants into music either through an IOS app or via midi on your computer.

The life and work of Umashankar Manthravadi is a history of sound and technology through the second half of the 20th century. As a self-taught acoustic archaeologist, he has been building ambisonic microphones since the 1990s to measure the acoustic properties of premodern performance spaces. This exhibition responds to his practice and proposes possibilities for listening to the past and its absence which remains. Centred around an audio play and a video installation, A Slightly Curving Place brings together writers, choreographers, composers, actors, dancers, musicians, field recordists, and sound, light, and graphic designers who engage and transform each other's work. Elements from Umashankar's biography serve as a compass amid the material in vitrines, as a dancing body positions the endlessness of time in relation to a series of ruptures that is history. Under a dome of speakers an assembly of listeners gathers to sense a past they cannot hear. The sound that arrives is only a record of sound as it might have been.

"What does it mean to listen to the past? An exhibition curated by Nida Ghouse"

"Coming to Know asks how listening to the past together might transform our sense of the knowledge held in common. It sets aside the visual techniques of the archaeological site, the museum, and the larger project of colonial modernity, and instead constitutes itself as a resonant structure-a future-oriented monument to historically situated listening bodies as well as a dwelling place for community now."

OPEN ACCESS FORTHCOMING AUTHORS ABOUT CONTACT A Slightly Curving Place asks what it means to listen to the past and its absence which remains. It responds to the practice of acoustic archaeologist Umashankar Manthravadi, whose life and work are a history of sound and technology through the second half of the twentieth century. As a self-taught acoustic archaeologist, he has been building ambisonic microphones since the 1990s to measure the acoustic properties of premodern performance spaces. Comprising a range of perspectives in which his propositions reverberate, the publication attends to what he does, and to the political and performative potential of the past that he opens up.

This electricalwalks.org website is the latest development of the electromagnetic sound world discovered by the German sound artist Christina Kubisch. Initiated through conversations between Kubisch and the artistic director of the Ultima Oslo Contemporary Music festival, this website was launched at the opening of 2019 Ultima Festival 2019. With the support of the Goethe-Institut and the Norwegian Arts Council, the electricalwalks.org website has been developed by the Ultima Festival and Christina Kubisch in collaboration with the Berlin webdesign company A & B ants and butterflies.

"a temporary installation selected for the 2019 LA Design Festival, invokes the 'Purpose of Joy', as a reframed response to the festival theme, 'Design with Purpose'. It brings the activity of uninhibited singing from the privacy of one's shower to a public street parking lot, in a dedicated urban, mini 'singing shower park'. In play and joy, vulnerable boundaries between private and public behaviors dissolve. Using an 'authorized' play setting for all ages, it explores where and how we feel comfortable to express joy, where we hide, and where we test our private face in public."

"For over 30 years, Basinski has worked with tape loops - capturing, slicing and warping the world around us on reel-to-reels. He makes field recordings from nature and shortwave radio signals, then literally cuts them up into short loops. His almost obsessively analog-focused work is often melancholic and strained, but always beautiful. But it is The Disintegration Loops, a project he finished the morning of September 11 while living in New York, for which he's best known."

"Cooking sounds resonate between the interest they draw in contemporary culture and the neglect in which we have been under-hearing them for many years. It is addressed by Tara Brabazon, a researcher in Cultural Studies, in her article The Sounds of Food: Defamiliarization and the Blinding of Taste.[1] She indicates that in food literature, the attention given to sound is reduced and approaches the acoustics of food as an "oral history" of the obsolete, unheard, undocumented geographies created around food, questioning the cultural hegemony of the visual, the tactile, and the gustatory. Anna Harris is an anthropologist studying topics related with well-being and nutrition who wrote the article The Hollow Knock and Other Sounds in Recipes,[2] where she examines how sound has been used to communicate and instruct the preparation of a group of food recipes including bread loafs. "