THE SCHOOL OF SOUND began in 1998 as a single, four-day event aimed at exploring the creative use of sound in the arts and media, with a special emphasis on film and screen productions. It was responding to the limited opportunities to study sound, particularly for film. Our first event attracted over 200 people from 25 countries. The programme featured Walter Murch, Michel Chion, Piers Plowright, Mike Figgis, Laura Mulvey, Peter Kubelka and the Quay Brothers. Since then, the SOS has expanded its programme to include weekend seminars, intensive practical workshops, lectures, 'listening' events, consultancies for professional practitioners and, of course, the international symposium held every two years.

"Sculpture-situated within the sensibilities of space, embodiment, and the physical world-offers a richly speculative arena for experimentation with materials and technology. The continuing expansion of practices reminds us that sculpture no longer resides in a world of "things": contemporary physics now reformulates "solid" matter as process and flow, foundational concepts for art are now redefined or dismantled, and virtuality often stands in for the "real." The implementation of sound created by artists as sculpture has contributed robust tools and a new sense of identity for these changing boundaries. Yet while sound has become almost ubiquitous in contemporary art, it has garnered scant scholarship, and its artists are often neglected. "

"This sculptural installation invites people to use acoustic glasses to discover musical tones in the sound of their environment. Listening Glasses are hollow spheres with a funnel on one side (inserted into the ear) and an opening on the other. Each glass is calibrated to a particular musical tone. If this tone sounds in the surrounding air, the glass resonates and amplifies it."

Another good inquiry into what :sound art" means

"an exploration of the sonic landscape of civil defense featuring the sounds of the rsh-10, asc t-135, thunderbolt t-1000, aca allertor 125 and more…"

"Installation by Brian House creates audio from feedback of four different sheets of metal affected by a realtime feed from water quality sensors examining a polluted river:"

"Capilano Breakhead Tank Music Performance, Immersion"

"Italian cave with exceptional acoustics and an unsavory history.  "

"The Talking Statues project gives 35 public monuments in New York City a voice, from Balto the dog to George Washington in Union Square."

"Almost 200 recordings of international protests are now archived in an online sound map that spans over two decades."

"In a project by Gideon Jacobs and Gregor Hochmuth, visitors to Deli Gallery can pick up a phone and hear the confessions of strangers."

"Imagine for a moment the year 1800. A doctor is meeting with a patient - most likely in the patient's home. The patient is complaining about shortness of breath. A cough, a fever. The doctor might check the patient's pulse or feel their belly, but unlike today, what's happening inside of the patient's body is basically unknowable. There's no MRI. No X-rays. The living body is like a black box that can't be opened. The only way for a doctor to figure out what was wrong with a patient was to ask them, and as a result patients' accounts of their symptoms were seen as diseases in themselves. While today a fever is seen as a symptom of some underlying disease like the flu, back then the fever was essentially regarded as the disease itself."

"This acoustic world is open to everyone, but most of us never enter it. It just seems so counter-intuitive-not to mention a little hokey-to listen to trees. But Haskell does listen, and he describes his experiences with sensuous prose in his enchanting new book The Songs of Trees. A kind of naturalist-poet, Haskell makes a habit of returning to the same places and paying "repeated sensory attention" to them. "I like to sit down and listen, and turn off the apps that come pre-installed in my body," he says. Humans may be a visual species, but "sounds reveals things that are hidden from our eyes because the vibratory energy of the world comes around barriers and through the ground. Through sound, we come to know the place.""

"This month's series will have readers thinking about the sounds in classrooms in different ways. They will consider race, class, and gender, and how those aspects intersect how we listen to the classrooms of our past and our present. More importantly, the posts will all include assignments that educators at all stages can use in their classrooms."

"Bernie Krause is an American musician and soundscape ecologist. He has been recording, researching and archiving soundscapes for over 40 years. ....It celebrates the work of Krause's work, adding a simple but fitting and room-filling spectrogram to the recorded soundscapes, emerging the listener in sound, and being able to recognise the animals with visual cues. Here's a 360-degrees video, if your browser can play that: The idea is quite simple, but the soundscapes are compelling and diverse. While it can sometimes be hard to get an audience interested in sound-based works in a museum, United Visual Artists did a great job of adding a simple visual counterpart to keep those who aren't used to only listen to sound, interested. If you want to know more about the work of Bernie Krause, I suggest watching this TED Talk about "The voice of the natural world"."

"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."

Swartz also invites gallery visitors to handle, listen and look - often in unconventional museum spaces. More subtly, her work employs them as spectators of interactivity, a less considered version of participation, yet one often crucial to the complete experience of some of her sculptures. These modes of interactivity combine with Swartz's skillful transformation of simple, industrial materials to engage viewers with their own emotional history as well as the formal traditions of participatory art... - Rachel Arauz

"Sonic Acts Festival has been uploading some new videos to their YoutTube channel featuring amazing content from their edition on Geological Imagination, including talks, performances, interviews, etc."

"A Thing Heard: Four Ways of Listening is a collaborative tour showcasing the work of four contemporary British artists working in the field of sound art. The artists have curated a collection of sculptural artworks that use sound as the primary medium, exploring the inherent materiality and physicality of sound through a range of media, working methods, and outcomes."