"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. "

"With this special issue of Seismograf we are happy to present a new format of articles: Audio Papers. Audio papers resemble the regular essay or the academic text in that they deal with a certain topic of interest, but presented in the form of an audio production. The audio paper is an extension of the written paper through its specific use of media, a sonic awareness of aesthetics and materiality, and creative approach towards communication. The audio paper is a performative format working together with an affective and elaborate understanding of language. It is an experiment embracing intellectual arguments and creative work, papers and performances, written scholarship and sonic aesthetics."

Sounds are ever present: They envelop and permeate us, consolidating, dissolving and complicating relationships. Through a genuine agency of their own, sounds can articulate protest or approval, serve as a political statement or thought, and establish ties between people, entities and environments.

"In an interview in the October 1920 issue of The American Magazine, Edison confirmed that his scientific curiosity was intrigued by the nature of what happens to us after death. In his interview he posed the question, does our consciousness simply disappear as our bodies decompose or does some essence of our personality still linger in some form in this dimension of reality? Edison admitted that he didn't know, but the scientist in him wanted to find out whether that question could be answered. He told his interviewer that he was actively pursuing a device that would help him find that answer, saying, "I have been at work for some time building an apparatus to see if it is possible for personalities which have left this earth to communicate with us." For Edison, who took his inventions very seriously, this was not a simple throwaway remark, it was an announcement."

"Advocates of Electronic Voice Projection (EVP) claim they can use radio equipment to communicate with the dead. But are they just hearing what they want to hear?"

"We recover these wonderful images of the creation process of sound effects in Disney's early movies. "

"Rather than perceiving the world in real time, we're actually experiencing a memory of that perception. That is, our unconscious minds filter and process the world under the hood, and often make split-second decisions. When we become aware of those perceptions and decisions-that is, once they've risen to the level of consciousness-we're actually experiencing "memories of those unconscious decisions and actions," the authors explained. "

"taracatá trabaja uses the traditional Argentinian folk song, Malambo del Hornerito, as a point of departure. It is an ode to the Argentinian national bird-the serially procreating, monogamous, and hard working hornero who builds his home from spit and dirt. Created through long-distance collaboration, the musical composition of taracatá trabaja is derived from the two onomatopoeias in the folk song: taracatá, characterizing the sound of laborious work (i.e. fields being plowed and nails being hammered) and chapalea, a verb evolving from the sound of squelching in mud. In taracatá trabaja, the hand drawn hornero rests on the porcelain surface along the music score, reminding one of the complexities of making a home, and of labor and its imbued ideas of meritocracy, while reclaiming pleasure, well being and dignity."

"Neuhaus sees his role in the siren project as basically that of an eminently qualified and imaginative sound technician; he looks outside the art context for the project's ramifications. It is the mandatory localization and identification of the alarm sound by the hearer, rather than any emotional representation of it, that he feels must be emphasized."

"When I press record, I accept whatever comes. And it is a gift when something unpredictable happens." Danish artist Jacob Kirkegaard describes how he works with the sounds of the world. From border walls and abandoned spaces to the sounds of death."

A Study Investigating the Relaxation Effects of the Music Track Weightless by Marconi Union in consultation with Lyz Cooper

"In fact, listening to that one song -- "Weightless" -- resulted in a striking 65 percent reduction in participants' overall anxiety, and a 35 percent reduction in their usual physiological resting rates."

"Toussaint-Baptiste's current exhibition, Set It Off, addresses affective and relational possibilities of sound through the perspectives of minimalism and a resistance to predetermined representations of Black American experiences by favoring instead abstract visual and sonic expressions of Blackness."

"Pushing off from experiences in which music hails its listener in terms of communal belonging, this essay tries to productively shift our attention towards the queerness of sound itself, as both an agent and a solvent of the political experience of antagonism encountered when identification claims us (or fails to claim to us). Sound- not music but the raw immanence of sounds we cannot identify- can let us hear what is not yet locatable on the available maps of identity. Hearing the queerness of sound might help us echo-locate the edges of subjection, and encounter its ontological outside."

"Double Mouth Feedback is a multi-channel sound installation. The source material for this project is generated from vocal recordings from participants. The recordings were created in response to a series of prompts asking the participants to manifest their experience of gender through vocal sound. The vocal composition was created with electronic composer Bruno Coviello. The installation incorporates the material aspects of sound, using wave patterns, interference phenomena, and vocal superposition to structure the composition. Multiple Frequencies, pitch shifts, and expressions are woven together to collectively imagine a more inclusive and expansive gender system."

None of the music on this website exists. But don't you wish it did? The reviews that make up this preview of EAR WAVE EVENT were created by a neural network fed and trained on contemporary music press. Inverting the normal flow of music criticism, we invite artists to use these reviews prescriptively - to create realizations of musics 'imagined' by a prosthetic mind.

"After years of escaping into music, writer Mark Richardson finds out what it feels like to hear no sound at all."

"The 10-second recording of a singer crooning the folk song "Au Clair de la Lune" was discovered earlier this month in an archive in Paris by a group of American audio historians. It was made, the researchers say, on April 9, 1860, on a phonautograph, a machine designed to record sounds visually, not to play them back. But the phonautograph recording, or phonautogram, was made playable — converted from squiggles on paper to sound — by scientists at the Lawrence Berkeley National Laboratory in Berkeley, Calif."