Sound Research

"Tsang's new site-specific installation, Anthem (2021), was conceived in collaboration with the singer, composer, and transgender activist Beverly Glenn-Copeland (b. 1944, Philadelphia) and harnesses the Guggenheim Museum's cathedral-like acoustics to construct what the artist calls a "sonic sculptural space.""

Janette Sadik-Khan helped shape the urban soundscape of NYC

"This talk will consider the notion of sonic possible worlds in relation to the body. I will discuss the body as material and fleshly body, as human and more than human form, whose sonic possibilities ruptures norms and expectations through invisible permutations, silences and screams. Thus, I will sound and articulate a body in trans-formation, ephemeral and porous; questioning of individuation and the boundary of the skin. And hope to hear the unrecognizable body, at the margins of the representational frame and at the brink of viability, to engage in how its sonic possibility challenges who we count as real, and how we hear their actuality: the norms and naturalizations that give us the recognizable body and its name."

"Most people report vivid visual dreams during REM sleep, with scenery that seems to structure the narrative of the dream. However, the extent to which we experience auditory content in dreams is relatively unstudied, or underreported."

"A growing body of scientific evidence now shows that what people taste when evaluating a wine, and how much they enjoy the experience, can be influenced by the music that happens to be playing at the same time. "

"Acoustic Subtraction is a sound experiment which involves filling a public space with white noise and then rapidly pulling the plug. 20 minutes of white noise followed by 20 minutes of silence."

A series of curated sound works for the museum's elevator.

"The strange narrative of Newtown Creek unwinds over a new audio tour, the half-hour "A Field Guide to Whale Creek." Created by the Floating Studio for Dark Ecologies (FSDE), a media art collective including Nick Hubbard, Rebecca Lieberman, and Marina Zurkow,"

"Hydrofeminist METitations is a listening series brought to you by Ensayos as a part of their digital residency at the New Museum. "

"Walk along the gravel path that winds beside the Mystic River, and you'll probably notice, every so often, a sign stuck crookedly into the grass. "You're walking inside a virtual audio installation!," it cheerfully announces. Scan the QR code, and your headphones fill up with sound: a mournful cello, a cacophony of birds, the sudden gush of running water."

"Two recent films about Deaf culture have been lauded by hearing audiences, but set deafness and music at odds in superficial ways."

Opening track for this album that uses sounds of oceans around the world as its primary sound source

Meara O'Reilly is a composer and artist, focusing on perception and new musical interfaces.

"This essay explores how the sound of skateboarding can be studied as a critical analysis and transcultural anthropology of sound. Combining the analysis of the particular sensual aspects of skateboarding with an investigation of the cultural and urban discourses and politics of this performative practice, the article proposes theoretical and methodological perspectives of studying the particular relationship of sound, knowledge and space."

"Those without disabilities might not notice the innovations, but a museum in London is winning plaudits for its design and content."

This call for works has a fantastic list of references for listening and aural poetics.

"Treatise, which was composed between 1963 and 1967, is considered to be Cardew's greatest achievement. It's also a total head-fuck for anyone who attempts to approach it. It's a 193 page graphic score with no instruction - completely in the hands of the conductor and musicians who interpret it."

"This is a zine on sound weaponry use by police. It offers tips on scene assessment and readiness for exposure to the Long Range Acoustic Device (LRAD) at public demonstrations. It also offers some history on police sound and a little bit of info about general acoustic trauma."

"Ultra-red pursue a fragile but dynamic exchange between art and political organising. Through the performance of a militant sound investigation, the audio collective map contested spaces and histories as an articulation of social relations. Drawing on the formal strategies of early Conceptualism, We Come from Your Future facilitates a particular kind of discursive action whose performance of announcing and denouncing constitute an intervention. We Come from Your Future is comprised of two episodes in which Ultra-red ask, "What are the sounds of anti-racism?" Posing this question in the context of anti-racist and migrant organizing in the UK, the first episode features a set of dispatches that combine audio compositions with accompanying field reports. These online dispatches lead up to and inform an on-site event as part of the Triennial Prologues: Altermodern at Tate Britain on June 28. "