/|__O__||||||||||||\//|_>>||__||| |/////_\/| |/| |/|||||||\/|||||||\|\/|//|_ \|/||||\||||__|| __| /|___ //|||||||/___|////|>|_|/|/| <> |//|/////| |/| |/| || O|//| ||||\|\/|/||/_\ |/||||| \|||//|||// /|____\ ||^|||___|||////| |//|///> <>// \__/|/| _ |/| || |\/| ||||/||||/||___||/|||| \||||//| | /| O ||////\\||/ |////|||/ /__| <> |///// //| |/| |/| || O||/| ||||/||||/|||/| |/|||||\|||//| | /|_____|\_ //\ /////|>||||| | |/// ///| |/| |/||| |//| |// / / / // /////////// // /// /// /// /////// // ///// ///// / / / / // / / / / / // / * / Once we did a trip to Tokyo. //////Iwasstillyoungthen andtheyhad just finished // // /* /// building the new highway. It took the state many centuries and leaders // / ...

This is a recording of a trio improvisation by Takahiro Kawaguchi (horns) Masahiko Okura (reeds) Masahide Tokunaga (alto sax) which was held at En-ban, a record store in Koenji, Tokyo, at 8pm on August 30th 2016. Okura and Tokunaga are wind instrument players who work in both composition and improvisation. Rather than focusing on any one fundamental output, the handmade instrumentation and musical content of each of Kawaguchi’s performances are unique. On this recording, he performs as a “mechanical wind instrument player.” Text translated from Japanese by Wonja Fairbrother. Audio mastered by Alan Jones.

A knife is cutting through air, relentlessly. However, it cuts very slowly, by degrees and in circles; it’s a wooden knife, not very sharp, like a butter knife but with teeth. The structure upon which this knife is attached has a light bulb resting on it, a light bulb with a rather complex metallic grid inside, vibrating softly with every degree of the knife’s turns. Then there is a strip of paper or a piece of thin cardboard, suspended; three toothpicks are leaning on and pushing this cardboard but they are not strong enough, the cardboard barely undulates. Sometimes a toothpick ...

“A Cinder Block Falling on Concrete” consists of sounds and stories from Lawrence Abu Hamdan’s Earwitness Inventory, a personal library of sound effects related to the testimony of earwitnesses in criminal investigations. The objects in Earwitness Inventory are derived from interviews that Abu Hamdan has conducted with earwitnesses, as part of his work as a “private ear,” as well as transcripts from trials across the globe. (Multiple entries concern the reconstruction of Syria’s Saydnaya prison and the experiences of detainees, which Abu Hamdan undertook with the London-based research agency Forensic Architecture and Amnesty International from 2015 to 2017.) The library ...

Excerpts from Day Three at the Sydney Cricket Ground: Starc bowling to Saha from the Paddington end – dot ball; off-drive: boundary; dot ball; dot ball; dot ball; back-foot defence: dot ball. Watson bowling to Ashwin – edged: boundary; dot ball; dot ball; dot ball; forward defence: dot ball; forward defence: dot ball. Hazelwood bowling to Saha from the Randwick Street end – front foot defence: dot ball; back foot defence: dot ball; back foot defence: dot ball; drive to mid-on: dot ball; dot ball; off-drive: three runs. Watson bowling to Saha – forward defence: dot ball; back foot defence: dot ball; forward defence: ...

AUGUST 2018 AKI SASAMOTO Talking in Circles in Talking (Ice Sound), 11 min. 25 sec. Sound of the installation Talking in Circles in Talking with ice melting over bowls, amplified via homemade microphones.

This audio comprises binaural and stereo recordings. As a result of the mix, it is best experienced when listened to on headphones. The binaural audio is related to the research I conducted during my residency at EMPAC in Troy, New York in 2014. During two weeks in May 2014, I created different architectural configurations employing 16 moveable walls made out of materials with various acoustic properties. I placed many speakers around them to compose sounds that focused attention in different ways, an approach that reinforces sonic hierarchies. In November 2014, I focused on one particular wall/speaker configuration and invited choreographer Jocelyn Tobias ...

1 – An aphorism interrupted by some anecdotal wood 2 – An aphorism interrupted by some anecdotal wood 3 – An aphorism interrupted by some anecdotal wood 4 – An aphorism interrupted by some anecdotal wool 5 – An aphorism interrupted by some anecdotal oven 6 – An aphorism interrupted by some anecdotal wool 7 – An aphorism interrupted by some anecdotal wood – HP

By way of a selection of hundreds of sound works, Audiosphere: Sound Experimentation 1980-2020 looks to cover an historical and cultural void in terms of the recognition, exhibition and analysis of a key part of the recent changes that have taken place in the artistic conception of sound creation. In the following catalogue, the curatorial discourse that articulates the exhibition is displayed along with some texts that affect the relevance of sound art in contemporary art and, with it, in the social field.

Ms. Mrs. BC. AC. and Millennials babies. The darker color of the rice, the richer the nutrients. Fermenting is how it’s been soaked in the water. Submerge me. Dissolve me. Identity will be dissolved in the jar. Don’t label me yet, until the amount of alcohol is fatal. The liquidity of rice is ready to flow over the continents. Where have you been, mom? You may have had a rough upbringing, but you made it this far. Mama, I tried on dresses you gave me for parties, but it didn’t suit me well…

What you are hearing right now, if you’re at 1:48 of my recording, which I did via my iPhone’s “Voice Memos” function, is me typing the words you’re currently reading. I’m in Bobst Library, which is New York University’s library. I’m in a computer lab with 24 Apple computers. I’ve probably been in this computer lab 2000+ times. Besides me, there are 6 people in here. I haven’t counted the number of computers or estimated the amount of days I’ve been in here—that I can remember at the moment—until today, and I’ve been using this computer lab for something like ...

Call to Wait is a super-long-term project by Aaron Arntz. It’s a phone line that puts callers on hold for seven years. Holding callers are subject to listening experiments, until they hang up. On next phoning Call to Wait, callers will be re-identified, and before they are reconnected to the audio stream, automatically notified of their remaining time on hold. For example if a caller has been on hold for twenty-one minutes, she will hear that she has thirty-nine minutes, twenty-three hours, one day, fifty-two weeks, and six years remaining. The Call to Wait website keeps track of the numbers that ...