"Walk along the gravel path that winds beside the Mystic River, and you'll probably notice, every so often, a sign stuck crookedly into the grass. "You're walking inside a virtual audio installation!," it cheerfully announces. Scan the QR code, and your headphones fill up with sound: a mournful cello, a cacophony of birds, the sudden gush of running water."

"Two recent films about Deaf culture have been lauded by hearing audiences, but set deafness and music at odds in superficial ways."

Opening track for this album that uses sounds of oceans around the world as its primary sound source

Meara O'Reilly is a composer and artist, focusing on perception and new musical interfaces.

"This essay explores how the sound of skateboarding can be studied as a critical analysis and transcultural anthropology of sound. Combining the analysis of the particular sensual aspects of skateboarding with an investigation of the cultural and urban discourses and politics of this performative practice, the article proposes theoretical and methodological perspectives of studying the particular relationship of sound, knowledge and space."

"Those without disabilities might not notice the innovations, but a museum in London is winning plaudits for its design and content."

This call for works has a fantastic list of references for listening and aural poetics.

"Treatise, which was composed between 1963 and 1967, is considered to be Cardew's greatest achievement. It's also a total head-fuck for anyone who attempts to approach it. It's a 193 page graphic score with no instruction - completely in the hands of the conductor and musicians who interpret it."

"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."

"Ultra-red pursue a fragile but dynamic exchange between art and political organising. Through the performance of a militant sound investigation, the audio collective map contested spaces and histories as an articulation of social relations. Drawing on the formal strategies of early Conceptualism, We Come from Your Future facilitates a particular kind of discursive action whose performance of announcing and denouncing constitute an intervention. We Come from Your Future is comprised of two episodes in which Ultra-red ask, "What are the sounds of anti-racism?" Posing this question in the context of anti-racist and migrant organizing in the UK, the first episode features a set of dispatches that combine audio compositions with accompanying field reports. These online dispatches lead up to and inform an on-site event as part of the Triennial Prologues: Altermodern at Tate Britain on June 28. "

We Come From Your Future is a sound investigation into the future of anti-racism in the UK. It asks how the public discourse on ethnicotherness, diversity, and multiculturalism may contribute to the very conditions of racism? How has the erasure of terms like anti-racism, racist violence, and justice from the official bureaucratic language actually worked to both conceal and foment new convergences of racial tension? How has the composition and re-composition of migration in the UK contributed to new lines of anti-racist experience and opened up to new fields of struggle? What are the obstacles for a re-constitution of an anti-racist movement?

Need to test out something using different frequencies?

"For the first time, researchers have found a nonhuman animal that seems to have a sense of the beat."

"Both Guglielmo Marconi and Thomas Edison believed in the possibility of using new recording devices to contact the dead, or the "living impaired," to use Edison's uncanny twenty-first century­ term. Sir William Crooks, President of the Royal Society and inventor of the cathode ray tube, and Sir Oliver Lodge, one of the leading contribu­tors to radio t­echnology, believed the other world to be a wavelength into which we pass when we die."

"For Jason Achilles Mezilis, a musician and record producer who has also worked for NASA, listening to the haunting Martian wind was an emotional experience."

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"The research project Sound and Materialism in the 19th century, based at the University of Cambridge, investigates a scientific and a materialist perspective on music and sound in the 19th century to enlarge and enrich our understanding of the dialogue between 19th-century music and natural science. "