"An ongoing project that started life during a one week residency at the Soundfjord Gallery. My proposal was as follows: A letter written to the journal IEEE in 1969 suggests the curious possibility of clay sound recordings from antiquity. Claiming to have evidence, an enigmatic scholar named Richard G. Woodbridge III outlines a hypothesis: sound, by causing a shimmering of airwaves, leaves traces on materials the waves break upon; wet paint, for example, or the soft, wet clay spun by a potter. Using suitable technology a contemporary listener might hear these traces, so allowing a rehearing of whatever sonic activity was occurring in that original impact of sound wave and substance."

"Three geometric objects out of aluminium: a sphere, a cube and a tetrahedron, they all have the same volume. Together they form a new instrument which shows how form changes its acoustic characteristics by using its individual resonance. With the use of electronics the shapes can be used as instruments or acoustic (reverb) chambers. "

"Soundtracks is about remembering sounds. Everyday of our lives we are confronted with sounds. They set the tone, the atmosphere for our daily lives. Yet when we remember the important moments of our lives, we never remember the sound. Our mind just doesn't work that way. We can close our eyes and picture the moment before us, but when asked to do the same with sound, things become more difficult. Sound works much more insidious, and when asked to remember a sound, to recreate it in our heads, we have to rely a lot more on our imagination, our crosslinks between feelings, thoughts and memories to attempt to hear it again. And by using that imagination, we explore what it was that made a certain sound special to us, and why it stuck with us."

"Spectroscapes explore music as physical models that are generated from the signal strength of frequencies present in the waveform of an individual song."

"Human Sound Objects is an interactive installation in which every participant becomes an object in an ever-evolving soundscape. By Giori Politi, Doron Assayas Terre and Eran Hilleli Herzliya Museum of Contemporary Art, 2016"

"Ariel Guzik designs and produces mechanisms and instruments to enquire into the various languages of nature. He is also a musician, draftsman and illustrator. He is the director of the Nature Expression and Resonance Research Laboratory in Mexico (Laboratorio Plasmaht de Investigación en Resonancia y Expresión de la Naturaleza, Asociación Civil), an organisation which explores natural resonance, mechanics, electricity and magnetism and how these phenomena can be applied to music and sound experiments."

"I've experienced a number of works by Ryoji Ikeda over the years, from gallery installations to live concerts to a screening at Kyoto Experiment a few years ago… While his oeuvre is well defined, and often includes extremes (volume, frequency, minimalism) the idea of experiencing his first works written for percussion intrigued me enough to book my tickets for Japan - what form could such work take? "

"Sound as Color is an exploration in converting audible frequencies to electromagnetic waves perceptible to human eye relative to that of the audible frequency range of the input sound signal."

"This year I took part in Audio Game Jam 2. A game jam with the goal to raise awareness of accessibility issues experienced by visually impaired people when playing video games. If you haven't heard of audio games, these are games which are played mostly or solely through audio. There's lots of audio games across many genres like narrative adventures, flight simulators, RPG's, RTS games or even GTA style games."

"Traveling between Red Hook and Manhattan by ferry, an AI app talks to the water - and gets the water to talk back."

"It's a sonic phenomenon that occurs in only certain pockets of desert around the world. The sound of sand grains shuffling down hot slopes that can recall the angry buzz of bees or the deep, groaning thrums of a didgeridoo group. Scientists refer to these shifting dunes as "singing" or "booming" sands, which for centuries mystified explorers from Charles Darwin to Marco Polo. We know now that these strange sounds are caused by the vibrations of grains avalanching, at relatively slow speeds, down dunes, and that the grain size and speed influence the notes of these curious hums of nature."

"As part of RBMA L.A Festival, Ryoji Ikeda presented a new piece called A [for 100 cars], another one based in his exploration of sine waves. This time the concert was done through the custom sound systems of 100 cars which gathered in Los Angeles, each of them equipped with a custom sine wave synth created by Tatsuya Takahashi. Each devices was designed to play a score which goes around the different conceptions of the fundamental note, A, commonly considered in 440Hz, but here questioned in mesmerizing variations."

"For an exhibition at the Hessel Museum of Art, the artist wired five groups of corn plants to five music devices, forming a biofeedback system. Control signals were generated by measuring the electrical resistance of the plants' vegetable tissue, which in turn activated the MIDI synthesizers. Viewers were encouraged to interact with and touch the plants, which affected the sounds being played. The audience and cornfield were not just participants but actors, acting together-in concert-to produce the work."

"Julius created a variety of meaningful and moving sound-vision works that explore for the attentive viewer-listener the symbiotic relationship between visual art and noise music. Julius specifically augmented the history of audio art by meticulously working in the Zen zone between everyday sculptural objects, dim dins, and quietness. In his often derelict but delicate works, subtle noise vibrations become palpable, physical things. "

"a Half-Buried Roof Shelters Oral Histories"

""The Ears Between Worlds Are Always Speaking is a long-form, 2 channel hyper-directional 4 act opera projected upon the ancient ruins of Aristotle's Lyceum. For this work there is no physical intervention onto the site, with the exception of sound produced by 2 LRADs - LONG RANGE ACOUSTIC DEVICES - that are mounted on rooftops around the campus periphery. At the installation, audiences experience a shifting call and response hyper-directionality of sound when walking around the ruins of the school. The Lyceum, situated between the Athens War Museum, Hellenic Armed Forces Officer's Club, and Athens Conservatory of music, offers a rich environment for engaging oral tradition, contemporary and ancient history, as well as a sense of embodied learning."

"Last year, while i sat down listening to the speakers of the Open Fields conference in Riga, i learnt about the existence of the Kola Superdeep Borehole, the deepest man-made hole ever dug into the Earth crust. Lucas van der Velden, director of the fantastic Sonic Acts, was presenting Dark Ecology, a three-year art research and commissioning project which invited participants to re-evalute our definition and relationship to the environment. One of the works commissioned was Justin Bennett's Vilgiskoddeoayvinyarvi: Wolf Lake on the Mountains, a sound walk that takes us inside the now abandoned and very decrepit research station in the company of the last worker still living there."

"Robertina Šebjanič is one of those rare artists who brings as much attention to the aesthetics and concepts behind her artworks as to the meticulous scientific research that sustains them. Her installations, sound experiments and performances invite us to reflect upon our relationship as human beings with the rest of the world. Over the past few years, she has been collaborating with scientists, hackers, thinkers and other artists to explore themes such as interspecies communication, underwater sound pollution, the possible coexistence of animals and machines, chemical processes, the origin of life, etc. "

"Visualizing Sound - Representations of Sound in Contemporary Creation stems directly from the LEV (Laboratorio de electrónica visual - Visual Electronics Lab) Festival. Launched at LABoral in 2007, the festival focuses on the convergence of electronic sound creation and visual arts. Visualizar el sonido [Visualizing Sound] brings the same line of enquiry into the white walls of the art center. The result is an exhibition where sound and image perfectly balance each other. Some works give a graphic, architectural and physical presence to sound, others reveal the sound produced by physical objects we'd otherwise regard as perfectly mute."

"Exhibition guide for Earmarks II, on view at MASS MoCA and in downtown North Adams."