"Composer, performer and band leader Anton Lukoszevieze shares a series of graphic scores, each of which takes its title from a Lithuanian place name"

"It don't mean a thing if it ain't got that swing, goes the Duke Ellington song. By that logic, some bird songs really do mean something: at least a few bird species can swing in the same way that human musicians do, New Scientist can reveal. This claim has been made based on a mathematical analysis of the songs of one species, the thrush nightingale. Not all of the musicians New Scientist spoke to agree that what the thrush nightingale is doing can be called swing - but several said they have heard other species of birds singing that definitely do swing. "

"For centuries, skywatchers have reported seeing and simultaneously hearing meteors whizzing overhead, which doesn't make sense given that light travels roughly 800,000 times as fast as sound. Now scientists say they have a potential explanation for the paradox."

"Developed by Pauline Oliveros in collaboration with Leaf Miller and released in 2007, the AUMI is a camera-based software that enables various forms of instrumentation. It was first created in work with (and through the labor of) children with physical disabilities in the Abilities First School (Poughkeepsie, New York) and designed with the intention of researching its potential as a model for social change."

"This site documents examples discussed in my book Between air and electricity - Microphones and loudspeakers as musical instruments. Although most of these pieces and performances are best experienced live, these audio and video documentations might be helpful to get a better understanding of the music."

"On 27 August 1883, the Earth let out a noise louder than any it has made since. It was 10:02 AM local time when the sound emerged from the island of Krakatoa, which sits between Java and Sumatra in Indonesia"

"An immersive audio experience transports listeners four centuries into the past, when New York was undeveloped and ecologically diverse. "

In February 2016, U.S.-based astronomers announced that they had detected gravitational waves, vibrations in the substance of space-time. When they made the detection public, they translated the signal into sound, a "chirp," a sound wave swooping up in frequency, indexing, scientists said, the collision of two black holes 1.3 billion years ago. Drawing on interviews with gravitational-wave scientists at MIT and interpreting popular representations of this cosmic audio, I ask after these scientists' acoustemology-that is, what the anthropologist of sound Steven Feld would call their "sonic way of knowing and being." Some scientists suggest that interpreting gravitational-wave sounds requires them to develop a "vocabulary," a trained judgment about how to listen to the impress of interstellar vibration on the medium of the detector. Gravitational-wave detection sounds, I argue, are thus articulations of theories with models and of models with instrumental captures of the cosmically nonhuman. Such articulations, based on mathematical and technological formalisms-Einstein's equations, interferometric observatories, and sound files-operate alongside less fully disciplined collections of acoustic, auditory, and even musical metaphors, which I call informalisms. Those informalisms then bounce back on the original articulations, leading to rhetorical reverb, in which articulations-amplified through analogies, similes, and metaphors-become difficult to fully isolate from the rhetorical reflections they generate. Filtering analysis through a number of accompanying sound files, this article contributes to the anthropology of listening, positing that scientific audition often operates by listening through technologies that have been tuned to render theories and their accompanying formalisms both materially explicit and interpretively resonant.

"The recording starts with the patter of a summer squall. Later, a drifting tone like that of a not-quite-tuned-in radio station rises and for a while drowns out the patter. "

"Jonas Hollerup Helle  did an in-depth feature interview of Martin Stig Andersen, Sound Designer & Composer behind Playdead's LIMBO & INSIDE."

"In an excerpt from his book The New Analog, Damon Krukowski looks at the aesthetics of noise in analog music-and what we've lost in the transition to digital recordings."

""the role of smells in our perception of and engagement with the past has not been systematically explored." Their findings, presented under the title "Smell of heritage: a framework for the identification, analysis and archival of historic odours," are based on sampling volatile organic compounds (VOCs), which compose most odors, at sites including the library of St. Paul's Cathedral in London. They additionally surveyed people about their olfactory perceptions of historical books."

"Most non artists think that a work of art begins with an imaginary grand design, which is then made real by using the techniques the artist has developed.   That's not the way it usually happens.   It's certainly not the way interesting art usually happens.  In the beginning there is most often nothing, and nothing, and nothing for hours and days, and sometimes weeks and months.  There are scores or hundreds of false starts.  Then, when something does pop into the artist's head it isn't anything close to a grand design.   It's usually an inkling, a notion, a fleeting feeling.  It's an unintentional smear in one corner of the same canvas the painter has been fruitlessly fiddling with all along.  But it suggests something.  It's a start, only an idea, a hunch, but nevertheless something concrete to work with."

"Chris Watson shares his experience as a composer and location wildlife sound recordist, discussing the technical elements of field sound recording and presenting his recordings of the rainforests near Iguazu Falls in Brazil and Brinicles (icicles forming under sea ice) in the Arctic and Antarctic. He concludes with a case study, presenting a piece of sound art, commissioned by the National Gallery, created in response to John Constable's The Cornfield."

"What do we really hear when we hear the wind? If you step from a wood into an open field, the sound changes, although it is the same wind blowing over both. A winter pine tree far from the coast makes the wind perform like an angry sea, while a neighbouring bare birch makes a gust-like sound as soft as the brushings of a jazz drummer. A single blast can turn telephone cables and barbed wire fencing into the strings of a wind-harp."

"600 prepared dc-motors, 58 kg wood Zimoun 2017"

"This monthly theme of "Mistakes" got me thinking. Mistakes to me can be a negative outcome to an intended or an unintended action. Something called a "dictionary" says mistakes can be "an action or judgment that is misguided or wrong." But there are also "happy accidents" which is more fun to talk about than "sad accidents" so lets do that. As a fairly high-strung person, "rolling with it" doesn't come very naturally. Fortunately my chosen vocation and hobbies allows for a little bit of wiggle room when creating and/or messing up. "

"Every Time A Ear di Soun is a documenta 14 Radio Program in collaboration with Deutschlandradio Kultur that explores sonority and auditory phenomena such as voice, sound, music, and speech as mediums for writing counterhegemonic histories. Every Time A Ear di Soun reflects on how the sonic impacts subjectivities and spaces, especially through the medium of radio."