Sound Research

"PhD student Kate Carr has started an new podcast series 'Interiorities' playing sonic experiments and documents from this Covid-19 time of 'lockdown'. Episodes are being released each Sunday through April on Mixcloud and fortnightly from May. Sound works so far include contributions by Angus Carlyle, Leo Okagawa, Mark Peter Wright,  Salomé Voegelin, Stephanie Merchak, Margaret Harmer, Paula Garcia Stone, Iris Garrelfs, Martin Kay, Francois Houle & Scant Intone and many many more."

"Watching people, talking with them, and actively engaging in social practices are the participatory techniques through which the ethnographer learns to see the world as his or her participants do, rich with socially constructed and historically situated meaning. Yet the focus on seeing the world as your participants do sometimes eclipses the other sensory modes that people employ to make sense of social and material interactions."

"An immersive marvel of sonic ethnography, Expedition Content draws on audio recordings made by recent college graduate and Standard Oil heir Michael Rockefeller as part of the 1961 Harvard-Peabody Expedition to Netherlands New Guinea that set up tents among the indigenous Hubula (also known as Dani) people. "

"4DSOUND's John Connell reflectes on the potential of working with spatial sound technologies to encourage new states of awareness and reciprocity"

The influence of the global south in sound practices and sound studies. "In this sounding canon, however, an astounding absence of Global South sound thinkers, artists, and practitioners is observed. Let's measure how many non-western scholars participate in the major canonical texts mentioned above: 1, that's just 2%! "

Nice documentation of a multichannel sound installation by Natasha Barrett

"'Inversion 3: Speaking Surfaces' is part of the project Reconfiguring the Landscape, which aims to establish a new awareness of our environment. This outdoor versions plays over a specially designed loudspeaker that bounces beams of sound off the surrounding buildings. The documentation was recorded with an EM32 microphone and then transcoded to binaural. Please listen on headphones. About 'Inversion 3: Speaking Surfaces': Using a high-definition 3D microphone, I capture the sound field of the public space in Graz and break it down analytically. I then amplify the unheard sounds, transform and compose with them, and create an enhanced sound picture. The inaudible becomes audible; putatively ambient sounds become an exciting, dynamic event."

"'Inversion 3: Speaking Surfaces' is part of the project Reconfiguring the Landscape, which aims to establish a new awareness of our environment. This outdoor versions plays over a specially designed loudspeaker that bounces beams of sound off the surrounding buildings. The documentation was recorded with an EM32 microphone and then transcoded to binaural. Please listen on headphones. About 'Inversion 3: Speaking Surfaces': Using a high-definition 3D microphone, I capture the sound field of the public space in Graz and break it down analytically. I then amplify the unheard sounds, transform and compose with them, and create an enhanced sound picture. The inaudible becomes audible; putatively ambient sounds become an exciting, dynamic event."

" How do you create a "you-are-there" audio experience, when the "there" in question is a palace in an entirely different century?"

"To produce The Met's first 3-D audio experience-an immersive tour integral to the current exhibition Visitors to Versailles (1682-1789)-my team and I entirely rethought the idea of a typical audio tour. Our goal? To bring alive the actual experiences of seventeenth- and eighteenth-century visitors to Versailles. "

"Icelandic composer/cellist/choral arranger Hildur Guðnadóttir's was brought onto the show's production team in hopes of creating a score haunting enough to make viewers really feel the danger behind the spring 1986 catastrophe.... she used field recordings captured at a now-decommissioned power plant in Lithuania (where the series was filmed) to build the show's eerie and ominous soundtrack."

"I'm in there with a recording of violins - there's also some guy using an arc welder in the next cabin."

"Edouard-Léon Scott de Martinville invented sound recording 20 years before Thomas Edison invented the phonograph. Sound had been invisible and transient since the beginning of time. Scott's phonautograph recorded it and made it both visible and perm­anent. It was a technological breakthrough, ahead of its time. He did not intend for his phon­autograms to be played back; that concept was another 20 years away."

"Zvook" (звук, Ukrainian for "sound") is a project bringing together software and hardware components to identify cruise missiles, helicopters, drones, and jet fighters at low to medium heights. There are currently 40 instances of the system deployed throughout Ukraine. While operational details are scarce, the project's team says that it helps the Ukrainian military locate and destroy Russian rockets targeting civilian infrastructure."

"This thesis is an exploration of some of the discourses arising out of the current ecological crises (Haraway 2016; Horton 2017) and argues that radio art is a constructive method for opening out practices of listening, for helping move beyond anthropocentric dialogues, and simultaneously beyond the constraints of dominant modes of storytelling."

"The music on Quartz Locked, Deep City Wandering, was sourced from non-musical, professional electronic appliances recorded back in 1987 and preserved on a C-90 cassette until this day. The original sounds were mainly derived from two electronic devices: a hacked, roadside traffic signal data logger, on the one hand, and a physician's pager, on the other. Wires were soldered to various parts of the data logger's motherboard and connected to a tape recorder's audio inputs, emitting a rich assortment of glitch sounds, static noises and buzzing a-plenty. A physician's pager, smuggled from the local hospital, was similarly hacked and manipulated in order to produce high frequency buzzing noises with striking modulation/demodulation effects. Both devices were eventually plugged together to create additional random interference patterns, while occasional tape manipulation and varispeed effect were also applied during the recording process."