By examining the materials that produce sound within contemporary art, we can approach sounding works not only from the perspective of "sound as sound" or "sound in itself" but rather as "sound as more than sound." Sound can never be without a history, culture, or political situation, and by approaching sounding practices in the same manner as we critically approach contemporary art practices, we allow matter to matter.

"Spanning the 42 St. Connector between Times Square and Bryant Park in New York City is a troupe of dancing figures dressed in vibrant costumes of feather and fur. The ebullient characters are based on the iconic series of Soundsuits by Chicago-based artist Nick Cave (previously) and are the first part of a massive permanent installation titled Each One, Every One, Equal All in the public transit corridor."

"People don't generally speak in a monotone. Even someone who couldn't carry a tune if it had a handle on it uses a different melody to ask a question than to make a statement, and in a sentence like "It was the first time I had even been there," says "been" on a higher pitch than the rest of the words."

"Daniel Kish navigates the world like a bat does-and he does so without ever leaving the ground."

Samson Young's compositions, drawings, installations, radio broadcasts, and performances touch upon topics such as military conflict, identity, migration, and political frontiers past and present. Sound and its cultural politics are at the heart of a practice that interlays multiple narratives and references. The relationship between violence and sound is a recurrent line of investigation in Young's work, which is often based on extensive research.

"Turning Towards a Radical Listening is an immersive audio-visual metaphor in which an audience is asked to reconcile how their sonic experience is represented, documented, given language and transcribed by AI algorithms over the course of apx. 70 minutes. The resulting nonsense concrete poem demands consideration of how we exist between input and output-holding space for us to tune into what can be lost in translation. "

"At the center of the conference is a specially built raised floor that is activated by low-frequency vibration. By sitting, standing, and lying on the floor, hearing and deaf participants are able to experience sound through their bodies. During the conference, presenters use the floor as a vehicle for tactile communication."

"There have been many heated debates over Arizona's newly-implemented legislation SB 1070, a law which targets one of the U.S.'s most vulnerable communities, undocumented workers, and makes them subject to deportation, police harassment, and criminalization. However, in the midst of all the shouting, there has been surprisingly little said about what the role of sound will be in the enforcement of this law. Conversations about racial profiling have been predominately limited to visual aspects: skin color, haircuts, and most infamously, footwear selection. However, in order to fully understand the devastating impact of SB 1070, we need to render sonic examples of discrimination as visible as their visual counterparts."

"Elevator Pitch is inspired by Kim's childhood memories of crowding elevators with her Deaf friends, and shouting so loudly that they could feel the vibrations of each others' voices. Meanwhile, elevators are often known to hearing people as sites of "awkward silence," thus the concept of this installation challenges when and where various people have a voice. Born Deaf herself, Kim approaches Elevator Pitch by investigating how Deaf communities of New Orleans experience a city so deeply defined by music, and by highlighting how Deaf people are vital to this culture of sound. "

"Visualised and listed sounds I've heard with my cochlear implant from Oct 2016 to Jan 2017."

The voice is what is really at stake in modernity, the voice as specified substance of language everywhere triumphantly pushed forward. Modern society (as has been repeated often enough) believes itself to be ushering in a civilization of the image, but what it actually establishes overall . . . is a civilization of speech. - Roland Barthes, "Lesson in Writing" (1968)

"What unites all the immersive art rooms is the communal sensory experience viewers share together."

"From an artist-led exploration of Central Park, to a field guide for a toxic waterway, here are seven recommendations for New York City sonic journeys."

Kate Donovan is a radio artist/practitioner, facilitator and researcher based in Berlin. Her artistic practice deals with radio in an elemental sense, in terms of frequency, transmission and interconnectedness. Her editorial and organizational work in free and community radio fosters inclusion, diversity, and experimentation. With questions of science-fact, the imagined, physical immersion and the "environment" in mind, her research (and in turn, her practice) is an exploration of radio as a natural phenomenon, an artistic medium, and a site for resistance.

"To engage with the notion of musicality in Agnes Martin's work, Pace Live presented performances by the musician Laraaji and members of the group Gang Gang Dance amid the recent exhibition Agnes Martin: The Distillation of Color in New York. The performances highlighted the ways that the legacies of Martin's distinct visual language and philosophies about art making have touched some of the most innovative musical artists working today."

Turn 4G network browsing into musical sounds A dedicated algorithm was created to turn one second of browsing on the 4G network into one second of music. The number of connections to the network in different regions of Lithuania controls the volume of the notes being played and their rhythmic distribution, while the amount of data transferred during those sessions determines the notes' pitches."