"Fabric/Fragment of An Urban Wilderness is a sound work and an investigation of the built environment, produced by giving voice to the city's thickly layered range of electromagnetic fields (EMFs) projected by cell phone base stations."

"In May 2019, Kathy Hinde invited people to join her on a 'Deep Listening Walk' to focus on the hidden sounds of Europe's largest blanket bog in The Flow Country in the far north of Scotland. Using specialist listening devices such as hydrophones, she made audible the sonic qualities of peat gently moving, and tuned in to the minuscule sounds emitted by small organisms living within this rich and biodiverse ecosystem. Blanket bog is a very special ecosystem, and the idea of 'Deep Listening' in this context was to listen into the peat at different depths, and to think about listening 'back in time' as these deep layers of peat have taken centuries to form, preserving organisms within its layers. What is it like to listen to these layers and different depths that hold deep time?"

Kathy Hinde is an audiovisual artist inspired by behaviours and phenomena found in nature and the everyday expressed through audiovisual installations and performances that combine sound, sculpture, image and light. Composed of hand-made objects, electronics and a blend of digital and analogue systems, her work represents a cross between kinetic sound sculptures and newly invented instruments. She frequently works in collaboration with other practitioners and scientists and often actively involves the audience in the creative process.

"This study examines evidence of the health benefits of natural soundscapes and quantifies the prevalence of restorative acoustic environments in national parks across the United States. The results affirm that natural sounds improve health, increase positive affect, and lower stress and annoyance. Also, analyses reveal many national park sites with a high abundance of natural sound and low anthropogenic sound"

"Encountering a boxing match projected on the wall of a darkened room is pretty unlikely while roaming around Chelsea galleries - unless you're at a Paul Pfeiffer show."

"This paper traces the relationship between art and atrocity, materiality and decay, and the aural possibilities of hospitality in a time of terror. There is one site in particular that seems to speak so poignantly to the complex workings of trauma, ruin, and memory, and it is the use of sound in this place that I wish to draw attention to here. The September 11 Memorial and Museum may not appear, at first, to signal the ways in which sound might usher in a new way of thinking about the philosophically complex concept of hospitality nor the promises of decay. Yet, one installation in particular manages to do just that. Located in the Museum's Historical Exhibition, and evocative of death, mourning, and haunting, William Basinski's sound and video installation, The Disintegration Loops, offers a fitting yet unique elegy to the loss of the towers and nearly 3,000 innocent people."

""Sound travels as compression waves through gases and liquids. Stable in its immateriality it remains true to its original data. Here sound input has a stronger power over a flow field. It creates waves that propagate through the fluid. When two sound waves run towards each other, they collide and interfere with each other's patterns. A snapshot of this collision is translated into a 3D model and produced with a milling machine." -Eva Schindling"

soundartist (1999, Spain) Currently based in Utrecht For me, creating a work always begins with sound research. In my concerts and installations, I explore the boundaries of the concept music using my own made instruments and extended techniques. To perceive sound, you need a source that vibrates (moves) the air and someone who can perceive those vibrations: "Sound is movement". As an artist I communicate with sound waves, with movement. Everything that sounds in my work is "aLive": lively, playful and produced in the moment.

"An aural history of the Cold War technologies that underpinned the space race and the arms race. "

Artist reference In this interview artist Jem Finer discusses his recent body of work with David Rooney, Curator of Timekeeping at the National Maritime Museum. In his Longplayer project Finer set himself the challenge to develop a 1000 year long musical score, working within the confines of today's technology and considering how sustainable the possibilities may be over time.

"Hearing is a vastly underrated sense. We tend to think of the world as a place that we see, interacting with things and people based on how they look. Studies have shown that conscious thought takes place at about the same rate as visual recognition, requiring a significant fraction of a second per event. But hearing is a quantitatively faster sense. While it might take you a full second to notice something out of the corner of your eye, turn your head toward it, recognize it and respond to it, the same reaction to a new or sudden sound happens at least 10 times as fast. "

This is just one video, poke around on the site to find more. "Anechoic is a 'collections story' that uses sound instead of visuals to interpret the essence of key garments from the Autumn/Winter 2006 collections by leading fashion brands. Part of a series of projects devoted to exploring 'The Sound of Clothes', these interactives and fashion films explore sound 'generated' by the garments themselves."

"That's the idea, at least. I'm walking westward from New York City for nine months or so. If everything goes according to plan, I'll be in Oregon when the clock runs out. If nothing goes according to plan, maybe I'll end up in Peru or Mongolia or Pennsylvania. "

"Henrik Håkansson (b. 1968 Sweden) devotes his work to studying the complex connections between humans and nature. He carefully constructs environmental experiments that ask participants to explore their impact on the environment that surrounds them, such as in the installation Frog For e.s.t. (eternal sonic trance) (1995). This piece consisted of a room filled with inflatable pools, humidifiers, insects, frogs, strobe lights, and a DJ mixing techno music on site. Projects like Frog For e.s.t. examine the intrusion of human artifice on the environment: what happens when we attempt to recreate delicate ecological systems? What are the effects of human-made sounds replacing the natural soundscape?"

"Stephanie Spray and Pacho Velez's (literally) transporting film-shot inside a cable car that carries pilgrims and tourists to and from a mountaintop temple in Nepal-is radically simple in conception. Each of its 11 shots lasts as long as a one-way ride, which corresponds to the duration of a roll of 16mm film. A kind of head movie that viewers are invited to complete as they watch, Manakamana is thrillingly mysterious in its effects: a staged documentary, a cross between science fiction and ethnography, an airborne version of an Andy Warhol screen test. Working within a 5-by-5-foot glass and metal box, Spray and Velez have made an endlessly suggestive film that both describes and transcends the bounds of time and space."

"No field of study based on sensory experience seems to be overburdened by terminology to the same extent as that dealing with sound and hearing. The visual sense, of course, has received as much attention as the auditory from physics, psychology, neurophysiology, and the visual arts, which have all contributed terminology and jargon alike, but a great deal of it seems to have entered the common vocabulary already, and at least the general notions involved are seldom foreign to the average citizen or student. Terms such as perspective, foreground, background, colour, spectrum, shadow, focus, image, reflection, transparent, translucent and the wealth of descriptive visual terms, not to mention common visual impairments and the complexity of visual language found in contemporary cinema and photography - all of these have found public familiarity in a way that it is hard to imagine their sonic counterparts ever matching. Almost every school child knows what white light is, and how it is composed, but would he know what white noise is, even though the likelihood of it having an adverse effect on him is far greater? The ability to perceive three-dimensional visual perspective when projected onto a two-dimensional surface, by no means a simple achievement given the lateness of its appearance in our civilization, is irrevocably ingrained in the child's perceptual habits at an early age, and yet the ability to distinguish acoustic parameters, or experience subtle nuances of timbre (supposing he knows what timbre, the sonic equivalent of colour, is) may never be among his perceptual skills."

"The farthest distance in every direction from which sounds may be heard. Incoming sounds from distant sources define the outer limits over which acoustic communication may normally occur, and thus help to define the perceived geographical relationships between communities"

A work by Bill Fontana. "Notre Dame has been described as the soul of Paris. As a result of the tragic fire in 2019, its bells have fallen silent. However, these bells were not damaged in the fire and are silently waiting and secretly "listening" to the sounds of Paris around Notre Dame. This is a continuous live streaming sound sculpture that makes audible the simple physical fact that these bells are secretly ringing all the time. I think of this secret ringing as being the heartbeat of Notre Dame. The sounds that the bells produce are created by their harmonic response to the ambient sounds of Paris that surround Notre Dame, as revealed by a live network of accelerometers mounted and live streaming from all ten of the bells. The physical fact that these bells are harmonically excited by the ambient sounds of Paris is a phenomenon that this artwork makes public in a way that will not only be beautiful to hear but will have a healing relevance to Notre Dame's fire, a healing relevance to the suspended sense of time created by the Corona Virus, the tragic war in the Ukraine and the ongoing environmental threat of climate change."

" At the turn of the millennium, improvised music from Japan became incredibly quiet. Clive Bell explains why previously noisy artists turned the volume down."