Sound Research

We Come From Your Future is a sound investigation into the future of anti-racism in the UK. It asks how the public discourse on ethnicotherness, diversity, and multiculturalism may contribute to the very conditions of racism? How has the erasure of terms like anti-racism, racist violence, and justice from the official bureaucratic language actually worked to both conceal and foment new convergences of racial tension? How has the composition and re-composition of migration in the UK contributed to new lines of anti-racist experience and opened up to new fields of struggle? What are the obstacles for a re-constitution of an anti-racist movement?

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"For the first time, researchers have found a nonhuman animal that seems to have a sense of the beat."

"Both Guglielmo Marconi and Thomas Edison believed in the possibility of using new recording devices to contact the dead, or the "living impaired," to use Edison's uncanny twenty-first century­ term. Sir William Crooks, President of the Royal Society and inventor of the cathode ray tube, and Sir Oliver Lodge, one of the leading contribu­tors to radio t­echnology, believed the other world to be a wavelength into which we pass when we die."

"For Jason Achilles Mezilis, a musician and record producer who has also worked for NASA, listening to the haunting Martian wind was an emotional experience."

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"The research project Sound and Materialism in the 19th century, based at the University of Cambridge, investigates a scientific and a materialist perspective on music and sound in the 19th century to enlarge and enrich our understanding of the dialogue between 19th-century music and natural science. "

By examining the materials that produce sound within contemporary art, we can approach sounding works not only from the perspective of "sound as sound" or "sound in itself" but rather as "sound as more than sound." Sound can never be without a history, culture, or political situation, and by approaching sounding practices in the same manner as we critically approach contemporary art practices, we allow matter to matter.

"Spanning the 42 St. Connector between Times Square and Bryant Park in New York City is a troupe of dancing figures dressed in vibrant costumes of feather and fur. The ebullient characters are based on the iconic series of Soundsuits by Chicago-based artist Nick Cave (previously) and are the first part of a massive permanent installation titled Each One, Every One, Equal All in the public transit corridor."

"People don't generally speak in a monotone. Even someone who couldn't carry a tune if it had a handle on it uses a different melody to ask a question than to make a statement, and in a sentence like "It was the first time I had even been there," says "been" on a higher pitch than the rest of the words."

"Daniel Kish navigates the world like a bat does-and he does so without ever leaving the ground."

Samson Young's compositions, drawings, installations, radio broadcasts, and performances touch upon topics such as military conflict, identity, migration, and political frontiers past and present. Sound and its cultural politics are at the heart of a practice that interlays multiple narratives and references. The relationship between violence and sound is a recurrent line of investigation in Young's work, which is often based on extensive research.

"Turning Towards a Radical Listening is an immersive audio-visual metaphor in which an audience is asked to reconcile how their sonic experience is represented, documented, given language and transcribed by AI algorithms over the course of apx. 70 minutes. The resulting nonsense concrete poem demands consideration of how we exist between input and output-holding space for us to tune into what can be lost in translation. "

"At the center of the conference is a specially built raised floor that is activated by low-frequency vibration. By sitting, standing, and lying on the floor, hearing and deaf participants are able to experience sound through their bodies. During the conference, presenters use the floor as a vehicle for tactile communication."

"There have been many heated debates over Arizona's newly-implemented legislation SB 1070, a law which targets one of the U.S.'s most vulnerable communities, undocumented workers, and makes them subject to deportation, police harassment, and criminalization. However, in the midst of all the shouting, there has been surprisingly little said about what the role of sound will be in the enforcement of this law. Conversations about racial profiling have been predominately limited to visual aspects: skin color, haircuts, and most infamously, footwear selection. However, in order to fully understand the devastating impact of SB 1070, we need to render sonic examples of discrimination as visible as their visual counterparts."