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Much discussion surrounding data sonification for musical and artistic purposes focuses on seeming contradictions that arise from the ways in which this practice differs from that of data sonification as a scientific tool. Over the past 30 years, this debate has become a rabbit hole of questions and arguments regarding the nature of music/sound-art and data sonification, and of their relationships with one another. In the following article, the authors identify three areas/classifications of artistic sonification, using a "strata" metaphor with the hope of bringing clarity to this discussion, as well as enabling reflection on the nature of science-art collaborations using this approach. [ABSTRACT FROM AUTHOR]

This article concerns The Zone, an interactive sound installation by the collaborative group Volumetric Units. It focuses on the installation's philosophical and creative aspects through a reflective analysis. The Zone expresses the phenomenological experience of hyperreal cyberspace: a condition where the shift in consciousness causes an inability to distinguish reality from the simulation of reality. The installation is an investigation of the sociopolitical effects of hidden online processes. The work intends to provoke a feeling of condensed confusion like the hyperreality that we experience online, a sense of dissolution of information that is followed by a dissolution of meaning. [ABSTRACT FROM AUTHOR]

Large-scale sound recognition data sets typically consist of acoustic recordings obtained from multimedia libraries. As a consequence, modalities other than audio can often be exploited to improve the outputs of models designed for associated tasks. Frequently, however, not all contents are available for all samples of such a collection: For example, the original material may have been removed from the source platform at some point, and therefore, non-auditory features can no longer be acquired. We demonstrate that a multi-encoder framework can be employed to deal with this issue by applying this method to attention-based deep learning systems, which are currently part of the state of the art in the domain of sound recognition. More specifically, we show that the proposed model extension can successfully be utilized to incorporate partially available visual information into the operational procedures of such networks, which normally only use auditory features during training and inference. Experimentally, we verify that the considered approach leads to improved predictions in a number of evaluation scenarios pertaining to audio tagging and sound event detection. Additionally, we scrutinize some properties and limitations of the presented technique. [ABSTRACT FROM AUTHOR]

The study makes a theoretical-predictive analysis of the transformations that the use of Artificial Intelligence and new media will generate in a medium time horizon in the theatre arts. Analysing some examples of contemporary creations in performing arts from Romania and other countries, it highlights different types of creativity through specific scenographic choices, dramaturgical compositions and spectator’s involvement, which break the tradition and draw a new horizon of scenic and performative experiences thanks to the intelligent use of new technologies and virtual realities. The directions targeted are aesthetic, professional and following the evolution of the act of reception. [ABSTRACT FROM AUTHOR]

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As sound practices continue to evolve in the gallery arts, conceptual texts create value for audiences who have been trained to see but who are still learning to listen. Based on 105 semi-structured interviews and four years of ethnographic observation, this paper finds that, contrary to the reliance on hearing in music or vision in the other gallery arts, gallery sound has had to rely, paradoxically, on reading audiences. After a look at models of cultural-economic valuation, this study finds that sound artists tend to rely on written language to value their works, and these textual value devices appear on a variety of interfaces. Artist statements are communicated through online platforms, handouts, didactic panels, and grant applications as instances of economic agencement – rendering the aesthetic economic – for works that otherwise might be mistaken for music or visual art. Respondents explained this reliance on text in terms of art world isomorphism, as a response to technical maladaptation, and as a tool for sensory learning. The resulting hierarchies of aesthetic value have implications for the relationship between sensory perception and conceptual understanding throughout the gallery arts and beyond. [ABSTRACT FROM AUTHOR]

In late nineteenth-century France, church bells were an integral part of society, sounding the quotidian rhythms of life. During WWI, a shortage of metals for the war effort resulted in German authorities requisitioning church bells in Germany and occupied territories. While the sequestration of the only bell from the church L'Eglise Sainte-Geneviève in the village of Marquillies (France) occurred under this guise, this was an invented cover story in order to remove the bell as a war trophy to Berlin. Contravening the revised Hague Convention of 1907, the removal the bell occurred because, owing to texts inscribed onto the bell by both parties, it was a propaganda tool by the French community and German forces alike. As a unique political symbol of the tension in the Alsace-Lorraine region in the early twentieth-century, the bell serves as a case highlighting the political power of a communal religious icon. [ABSTRACT FROM AUTHOR]

Aurel Stroe approached musical composition as a whole, from the catastrophic-thermodynamic point of view, from the perspective of the physics theories concerning unstable forms, open structures and their characteristics. In this study about morphogenetic music, the author investigates essential issues of musical composition. His theory is, in fact, the musical application of the famous morphogenetic theory put forth by the French mathematician Rene Thom. The Romanian master divides musical experiences into ABNORMAL MUSIC (corresponding to morphogenetic music, marked by asymmetry and incommensurability) and NORMAL MUSIC (most often, not the brilliant music of sound art). [ABSTRACT FROM AUTHOR]

Noise is a complex category that has been used to describe instances of disturbance and disruption in technical vocabulary and in many artistic languages. In music, and more precisely, in sound art, noise has been imbued with specific significations that operate as aesthetical signifiers that convey meaning even beyond its intensity of volume. In this article, the theoretical aspects of noise are articulated through the analysis of concerning discourse around the transformations of the concept of sound, which ultimately resulted in the designation of a genre in itself – noise. Furthermore, it is through the enhancement of a ‘sonic turn’ that the notion of listening as a generative aesthetic practice has referred to the body as the main instance of meaning construction in relation to both time and space.

Paulo Nenflidio, in his biographic note, presents himself as an artist who works at the intersection between art, science and technology. A multiple and inventive artist, his works comprise sculptures, installations, objects, instruments and drawings in which sound, electronics, movement, construction, invention, randomness, physics, control, automatons, and workaround come together as elements of artistic expression. Paulo Nenflidio holds a degree in Fine Arts from the School of Communication and Arts of the University of São Paulo and is an electronics technician graduated from the Lauro Gomes Technical School in São Bernardo do Campo. Born in São Bernardo do Campo, the artist maintains his studio in this city. In this interview, we seek to deepen our study about the poetics of Paulo Nenflidio's works. How his creative trajectory developed, conceptual inspirations that guided the development of his creative processes and his artistic research, as well as the role of sound and silence as forms of poetic expression are issues addressed in this conversation. This interview was conducted by email, between the 20th and 24th of July 2021.

A project description of a sound art installation and interactive performance presented as part of the Up Close Festival in New York City in the winter of 2019/2020. The article is authored by the creator and director of the piece, Adrienne Kapstein. Created for an all-age audience, the piece was a unique, relational and socially engaged experience that merged sound art, live performance, illusion, technology, and audience participation. Designed to be completed in partnership with members of the community it sought to serve, the piece invited participation from every audience member through multiple and varied means of engagement.

An aesthetic and epistemological departure from ocular centrism has occurred in the wake of current technological evolutions and the posthuman turn. The sonic exploration of the more-than-human takes artists and philosophers beyond anthropomorphism to reveal the hidden patterning of life forms and yet-unfathomed universes. The conflation of nature(s) with culture(s) is one shift that takes place when thinking with sounds and rhythm and studying our environments. On an ontological level, a reordering of subject and object occurs when encountering the reciprocal relationship of sounding. What if culture is actually nature? How does technology connect with botany, and what does it mean to engage the environment with the expanded tactility of the ear? This essay observes current inter-species practices in sound art by revisiting philosopher Susanne Langer’s theory of an embodied and embedded mind. Her “new key” in philosophy emphasizes music as a dynamic sound-pattern to conceptualize a semiology of artistic forms that renders human feeling in regard to non-human antecedents. This serves as a tool to trace the preconceptual substrata of mind, leading us through process-oriented studies of nature and psychophysical affect. Thinking with Langer involves the interconnection of natural systems, behavioural patterns, and human expression, which emerges in art.

The article highlights the enduring significance of radio as a medium for sonic creativity and its influence on both historical and contemporary sound art. Topics discussed include the role of radio in shaping soundscapes and musique concrète, the exploration of radio as a musical instrument, and the intersection of radio with deaf studies through tangible sound experiences.

The article discusses the aesthetics of tinnitus, focusing on its representation in Pedro Almodóvar's film Pain and Glory. Tinnitus is a subjective auditory sensation without an external source, and it can affect individuals who are d/Deaf, hard of hearing, or hearing. The article acknowledges the challenges of examining tinnitus in relation to aesthetics and raises questions about the implications of paying attention to a condition that can be aggravated by attention. The contributors to this special issue approach tinnitus through various aesthetic practices and discursive frameworks, highlighting the impact of tinnitus on people's lives and exposing omissions produced by ableist and audist discourses. [Extracted from the article]

To analyze the content of the songs performed by the singer Jenny Rivera, where female gender roles are represented, in her acting with other women and her relationship with the male figure. The artistic and cultural universes with the viscerality and emotionality of the human being, it is evident and practically impossible not to draw links between how music is related to mental health. And although we can witness the ways in which the art of sound and silence enters our brain to generate "positive" and "negative" emotional reactions, rarely are we truly aware of the way this happens and the role so important that music can charge in our mental health (Rios, 2019).Material and Method: The qualitative content analysis of a sample of 10 songs was used, which have this theme. Results: In the songs analyzed, we realize how the same woman encourages her fellow men the wrong ways and means of assuming and confronting couple situations. Encouraging violence not only physical, but psychological towards herself, as well as the denigration of her own female figure. The discourse and content of each of these songs, along with the type of music (band), come together to give it a more significant value, that without taking into account the places where these types of songs are mostly heard. Conclusions: With this work we can conclude that this type of songs in the future could be analyzed and passed through formal musical filters, to really be able to produce them and bring them to the market. [ABSTRACT FROM AUTHOR]

Radio art is understood as radio made by artists. The term is typically applied to sound-based artifacts produced and broadcast by means of the creative use of radio media affordances, infrastructure, and technologies. Radio art is known as any sound work conceived to expand the creative and aesthetic possibilities of the medium through the use of the elements of radiophonic language (voice, words, music, sound effects, and silence) with the intention to produce aesthetic messages and to move radio listeners. This study introduces radio art reception as a subject of scientific scrutiny. It proposes a model of radio art processing that includes involvement, art reception, and positive emotions as predictors of the willingness to listen to such works. After listening to each of two pieces of radio art, 126 Singaporean undergraduate communication students (MAge = 22.7, SD = 1.7) completed a questionnaire measuring involvement, art reception, perceived emotions, and willingness to listen to another radio art feature. The main results confirm our model of radio art reception: involvement predicts the audience’s cognitive stimulation generated by radio art, their artistic evaluation, and the positive attraction experienced by audiences towards them. The positive emotions experienced during consumption have a direct effect on the attraction towards radio art. Moreover, the specific radio art content affects the audiences’ responses. These results allow us to understand psychological responses to sound art. The hope is to attract the attention of communication and art researchers and invite them to deepen the existing knowledge about artistic sound through empirical studies, since debates about radio art and sound works are almost lacking from scientific literature. [ABSTRACT FROM AUTHOR]

In this essay I propose to open the concept of radio art in order to enrich it and to approach the different aesthetic styles of electroacústic music and sound art, because the radiophonic institutions and their protagonists have limited the definitions of radio art genres, limiting in this way the expressive possibilities of this interesting electric space. It is necessary to do a comparative analysis of the languages of these three fields (radio art, sound art and electroacoustic music) in order to find their convergences. From there, I am inviting radio artists to get closer to electroacoustic and conceptual art aesthetics to include in their works, and musicians and all kind of artists to make radio art. Finally, I do an historical analysis of the radiophonic and cultural institutions in Mexico in an international context, acknowledging their protagonist role in Latin America, and proposing an increased support for the creation and diffusion of sound works for the radio. [ABSTRACT FROM AUTHOR]

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This study, written within the framework of a project The Audiovisual Work Outside the Context of Cinema: Documentation, Archiving, and Access, is focused on the collaboration of film documentarian Dobroslav Zborník with independent artists who engaged in performance art in Czechoslovakia in the 1970s and 1980s. He started this collaboration already during his studies at FAMU in Prague, where he graduated with the documentary movie named Antinomie (1973), in which he recorded the happenings of the Křižovnická škola čistého humoru bez vtipu [The Crusader School of Pure Humour Without Jokes]. In the second half of the 1970s and the early 1980s, he made cinematic documentations of art events for Milan Knížák (a member of the Fluxus movement), and Milan Grygar (whose worked is typified by experiments with connections between graphic art and sound). The purpose of this study is to review Zborník's role within Czech action art, as well as an attempt at a contextual analysis of the integration of the moving image by artistic disciplines as another expressive, not purely documentary, component. Part of the study is therefore monitoring the gradual acceptance of event documentation based on the local historical context. In 1970s Czechoslovakia, performances and happenings were first recorded onto celluloid because video technologies only made their way to the Eastern Bloc countries with a considerable delay. Zborník's cinematic documentations were later, under various conditions, and with the use of methods corresponding to the times, copied onto video cassettes, or digitised, which contributed to their accessibility, but also to the omission of their specifics. [ABSTRACT FROM AUTHOR]

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Teaching film often involves un-learning previously taught histories of cinema to find instead 'herstories' (Dovey, 2018) and theirstories of cinema. This video essay constitutes an illustrative example of this practice, showing how Lebanese woman-led film Sukkar Banat / Caramel (Nadaine Labaki 2007) has been taught at SOAS, University of London to emphasise the crucial role of sound in narrative while rethinking the film canon and encouraging critical reflection on the gaze. By creatively compiling encounters between two characters in the film, the video essay shows two women gazing at each other in ways that evoke a romantic relationship, even if their contact stays in the hair salon. While there is barely any dialogue, the extra-diegetic music forges an intimate atmosphere. The decoding of these moments is shaped by the context of censorship in Lebanon, where explicit representations of same-sex relationships could be punished by law. In this video essay, I suggest that sound helps represent a queer gaze between the two characters, subverting both heteronormativity and patriarchal society, and in so doing, it also queers the audience's gaze. Caramel thus serves as an excellent case study of the possibilities of sound in film, and of film as sound art. [ABSTRACT FROM AUTHOR]

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The study deals with the history of the linguistic term 'umlaut' and its inclusion in the terminological systems of the German and Russian languages. The material includes German grammars, grammatical essays and dictionaries published in Germany from the beginning of the 16th to the middle of the 19th century, as well as similar sources published in Russia from the middle of the 18th to the middle of the 20th century. On the basis of this material, the author traces the development of the phonetic status of the umlaut, which was first considered a diphthong, then a half-diphthong ("semidiphthong"), because umlauts were generally believed to be pronounced as a bivocalic combination. In the first half of the 17th century, the approach to evaluating the status of umlauts begins to change. For example, Olearius (1630) counted the umlauts among the simple sounds. However, his position was not supported by other researchers of the time. A little later Ju. Schottel (1641) established the ability of the umlauts to realise a distinctive function. Nevertheless, until the beginning of the last quarter of the 18th century, the umlaut was incorrectly called a diphthongal sound combination. The term 'umlaut' itself was not introduced into German usage until 1774 by Fr. Klopstock, who defined it as any change in the root vowels, regardless of the reasons for such a change. The final status of the umlaut was established around the same time when linguists came to the unambiguous conclusion that, from a phonetic point of view, umlauts are simple vowels that require a single articulatory effort to be realised in speech. Russian linguists followed the authors of German grammars in defining the phonetic status of the umlaut. The term under study only entered the structure of Russian linguistic terminology at the end of the first third of the 20th century in two forms 'umlaut' and 'umlyaut'. From the end of the 18th to the end of the 19th century, it received several single-word or compound names: "ogolosok" (umlaut) (1799), "peremena glasnykh" (vowel change) (1844), "perezvuk" (umlaut) (1845), "pereglasovka" (umlaut resp. Umlautung) (1857), "sliyaniye glasnykh" (vowel fusion) (1864), "izmeneniye glasnoy" (vowel change) (1871), "pereglasovaniye" (vowel change) (1882), "suzhivaniye glasnykh" (vowel narrowing) (1895). So far, only the synonym "pereglasovka" has been retained in the terminological system alongside the Cyrillic transliterated name of German origin "umlaut". In research, methods of historical-linguistic, definitional, semantic and comparative analysis are used. [ABSTRACT FROM AUTHOR]

Technological growth has resulted in simplifying various tasks previously considered tedious jobs by humans. Artificial intelligence technology has increased and is being appointed to reduce the burden of handling charges by assisting humans in their tasks. The artificial intelligence technology integrated with the wireless network systems is designed to teach music with the help of new media art. New media art is referred to as artwork that deploys new media technologies for its production. Some of the new media technologies are as follows: animation, computer graphics, digital art, video games, sound art, and interactive art. New media art is different from the traditional visual arts, such as paintings, sculptures, and architecture. The new media art is gaining popularity and has become an unavoidable technology. In this article, people will research the application of artificial intelligence and wireless networks in the music context of teaching under the vision of new media art. The integration of AI and wireless network technology with new media art in the music teaching field is more advantageous than the traditional methods of music teaching. The integration model Convolutional Neural Network Art Algorithm (CNNAA) is a CNN algorithm to train and test the music teaching in the context of new media art such as technological involvement such as 4G and 5G for faster data transfer in the wireless communication. The proposed model is compared with the existing fuzzy logic, neural network (NN), and K-Nearest Neighbour (KNN) for the training and testing of the model for an accurate teaching process. The results show that the CNNAA has obtained a higher accuracy of 98% and 99% for training and testing. [ABSTRACT FROM AUTHOR]

This paper discusses the concept of sonification aplied to the Sons de Silício exhibition and more specifically to the design of Buzu, an audiovisual installation that generates an auditory image of the São Paulo bus transportation system. Buzu makes perceptible information of both the system’s planning and behavior during a particular week in October 2017. The work is an artistic outcome of the InterSCity project, an inter‐institutional research initiative concerning the Future Internet and the Smart Cities. Along with the discussion of the Buzu creative process we will examine mining and processing strategies related to the sonification of big data, data‐to‐sound mapping methods, auditory structure for displaying the material and the public exhibition of the work in the context of an artistic event.

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This work is a collaboration between Steve Tromans and Heidi Schmidt, and operates in the fold between sound art and philosophy. Both researchers recorded improvised monologues on themes of folding, the tesseract, space and time, and Tromans mixed these together in a composition that utilises time and pitch stretching, stereo-field panning, delay and echo-bounce effects, to provide for the listener an experience of “incompossibility” (cf. Deleuze 1988). The piece’s composite incompossibility is created through the superposition, unfolding, and enfolding of the voices – transforming their original space and time into a “forbidden” zone: the event of the piece’s tesseract. The final composition happens in the listening, rendering the listener a co-composer / compositor.

The catastrophic impacts of climate change, vanishing biodiversity, and the rapid deterioration of our global ecosystems require urgent attention and aggressive political action. This article explores a body of interdisciplinary research through a series of ecological sound projects designed to draw attention and awareness to changing ecosystems. These projects are framed as participatory acoustic ecology and position the discipline as a socially engaged, inclusive, accessible, interdisciplinary field that inspires communities to listen and act during times of crisis. [ABSTRACT FROM AUTHOR]

Aurel Stroe approached musical composition as a whole, from the catastrophic-thermodynamic point of view, from the perspective of the physics theories concerning unstable forms, open structures and their characteristics. In this study about morphogenetic music, the author investigates essential issues of musical composition. His theory is, in fact, the musical application of the famous morphogenetic theory put forth by the French mathematician Rene Thom. The Romanian master divides musical experiences into ABNORMAL MUSIC (corresponding to morphogenetic music, marked by asymmetry and incommensurability) and NORMAL MUSIC (most often, not the brilliant music of sound art). [ABSTRACT FROM AUTHOR]

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The most recent practices in sound art have emerged as pre-eminent spaces in which to question the interaction of sound with its environment. Accordingly, in this article, I envisage Arrhythmia, the sound installation by Bosch and Simons with Kostyrko (2019), as a device that helps to outline a horizontal sound ecology. This approach, which takes as its starting point the sound and material vibration in its entirety, implies a positive acceptance of an ontological continuity between the human and the non-human. This, in turn, implies that issues such as biopolitics cannot be reduced to the human realm. With this in mind, Arrhythmia emerges as a new kind of singular entity from which relationships with the environment can be conceived in a non-fragmented way. [ABSTRACT FROM AUTHOR]

Matthew Brauer interviews Moroccan contemporary artist Karim Rafi about postcolonial creation in the 2020s in "Sounding the State of the World." Beginning with Rafi's shift to remote performances during the COVID-19 pandemic, the discussion approaches confinement as just the latest in a series of crises in North Africa and the world. The repeated experience of crisis opens a conversation about the contemporary experience of time, broached in relation to modern Moroccan art history, which emerged from and against the conservative institutions of the French Protectorate (1912-1956). The interview touches on a range of distinctive concerns in Rafi's art practice, from sound installations to gardening, which he brings together in multimedia performances and hypermedia objects that register the cultural and political forces shaping art in the 2020s, while reactivating their radical potential for relation apart from capitalist commodification. [ABSTRACT FROM AUTHOR]

This article is an edited round-table discussion between a collective of Australian artists and academics working with sonic touch and gestural technologies across contemporary performance, public art, and care contexts. This discussion was conducted in August 2021 via Zoom and sought to articulate what a foregrounding of touch and gesture might offer scholarship engaging with the role of sound in performance. This specific collective was assembled because these artists represent a broad cross section of the ways touch and gestural technologies are currently functioning in contemporary sound-led performance practice, sharing as they do a positioning of practices at the nexus of sound, theatre, dance, public art, and music. [ABSTRACT FROM AUTHOR]

Generating a conversation between nineteenth-century poet Walt Whitman and contemporary composer John Luther Adams, this article offers a sonic-elemental account of American geography and community. It argues that Adams and Whitman treat America as a constellation of elemental relations between bodies and materialities, and that sound helps to discern and describe those relations. In doing so, the article outlines initial parameters of an elemental politics that relates political actions to their surrounding soundscapes, thus emphasizing communality while rebuffing nationalism and spanning across multiple times and places while remaining rooted in specific present situations. To make this argument, the article draws upon scholarship in elemental media studies, new materialism, and soundscape theory. It treats both poetry and music as types of elemental sound art, appreciating that sonic vibrations affect bodies below the level of consciousness even when finding expression in perceivable language or music. [ABSTRACT FROM AUTHOR]