Listening in Place - Window — an interactive sound text about everyday sounds and listening, in memory of John Cage — by Katharine Norman.

Invisible Time - a show for ears :: MUU galleria :: Lőnnrotinkatu 33, 00180 Helsinki, Finland :: Open: June 8 – 21, 2012 :: Tue-Fri 12-5 p.m., Sat-Sun 12-4 p.m. Produced by Artists’ Association MUU. Curated by Rita Leppiniemi and Timo Soppela :: Contact director@muu.fi Timo Soppela Phone: +3589625972 ::

Produced by Artists’ Association MUU, INVISIBLE TIME is an exhibition of international Sound Art featuring works by 12 artists from 11 countries. It includes four sound installations: Miriam Akkermann’s (South Korea) interactive Info-Room deals with information exchange and its position in society. Derek Holzer (USA) uses self-made electronics and electro acoustic soundboxes in his installation, whereas Takashi Mitsui (Japan) employs ambient sound from Helsinki in his installation Symphony Room Number L-33. Stefan Riebel (Germany) creates a time (consuming) installation with LP-players. Continue reading

Machine Listening And Learning For Musical Systems:: with Nick Collins :: Pompeu Fabra University (Room 52.321, 3rd floor) Roc Boronat, 158. Spain :: July 7, 2012 :: 15:30h ::

Musical articial intelligences are playing an important role in new composition and performance systems. Critical to enhanced capabilities for such machine musicians will be listening facilities modeling human audition, and machine learning able to match the minimum 10000 hours or ten years of intensive practice of expert human musicians. Future musical agents will cope across multiple rehearsals and concert tours, or gather multiple commissions, potentially working over long musical lifetimes; they may be virtuoso performers and composers attributed in their own right, or powerful musical companions and assistants to human musicians. Continue reading

Handy Ears is a piece of apparatus to enhance the wearer’s hearing. Casts of Ralph Borland’s hands, rendered in silicon rubber by special effects and prosthetics fabricator Tristan Versluis, cup the wearer’s ears to amplify and direct sound. So far the project is at the prototype stage. Borland’s been calling them ‘EarShots’. Stay tuned.

http://ralphborland.net/handyears/

Symposium #7 :: Locus Sonus :: March 24-25, 2012 :: Nantes, France :: Internet Auditoriums: What are the new forms of listening? :: Roundtables: 9h-12h & 13h30-17h :: Ecole nationale supérieure d’architecture de nantes / amphi 250.

Roundtables with: ximena alarcón / samuel bordreuil / anne bossé / julien clauss / stéphane cousot / alejo duque / bill fontana / marcus gammel / jérôme joy / anne laforet / grégoire lauvin / anselm nehls / katrin moll / pauline oliveros / julien ottavi / anthony pecqueux / marilou polymeropoulou / alain renaud / matthieu saladin / mariateresa sartori / peter sinclair / bruno suner / kasper t. toeplitz and remote participation : Scot Gresham-Lancaster / Roger Malina / Jocelyn Robert / Atau Tanaka.

The Global Composition: Conference on Sound, Media and the Environment :: July 25-28, 2012 :: Darmstadt/Media Campus Dieburg (Hochschule Darmstadt), Frankfurt, Germany :: Call for Submissions — Deadline: March 12, 2012.

The sonic environment is an indicator for the quality of life: One crucial aspect, however, remains open and leads to a multitude of questions: Is this, what our hearing is exposed to, satisfying and enhancing our individual, social, functional, biological, economical, aesthetic and existential needs and endeavors? If not, which concepts exist to “orchestrate” everyday life’s cacophony? Which methods exist to successfully evaluate the quality of soundscapes? Continue reading

Interference Journal is a journal that looks at the role of sound in cultural practices. The first issue is now live and can be viewed at here.

The title of the inaugural issue of Interference – An Ear Alone is Not a Being: Embodied Mediation in Audio Culture – acknowledges acoustic practices that involve not just the ear but a corporeal body that senses, resonates, transduces and responds to sound, and furthermore, seeks to emphasize the legacy of this embodied listening subject in the practices, media, and conceptual frameworks that make up audio cultures. ‘Embodied mediation’ presumes a reciprocal process: the texts in this issue explore not only how listening experiences and acoustic practices are shaped by corporeality, but also attend to the many ways in which those processes work upon that body, through psychophysical affect and the representation and encoding of listening subjects in acoustic performances, technologies and cultural artefacts. — From “Editorial” by Rachel O’Dwyer

2011 World Listening Day :: JULY 18 :: The World Listening Project (WLP) and Midwest Society for Acoustic Ecology (MSAE) invite you to participate in the 2011 World Listening Day on Monday, July 18.

Here are several possible ways to participate:

Organize a soundwalk :: Organize a performance event that explores soundscape and how we can listen to our sonic environment :: Participate introspectively by simply paying attention to your soundscape :: Facilitate an educational event that relates to acoustic ecology, field recordings, or a similar topic ::

The level of participation in 2010 was amazing. We would like to see if we can double or even triple the number of participants worldwide this time. Continue reading

Artist-technologist Honor Harger listens to the weird and wonderful noises of stars and planets and pulsars. In her work, she tracks the radio waves emitted by ancient celestial objects and turns them into sound, including “the oldest song you will ever hear,” the sound of cosmic rays left over from the Big Bang. Related.

The American Society for Cybernetics has great pleasure in announcing a conversational conference on the theme of LISTENING :: August 9 to August 15, 2011 :: Richmond, Indiana. USA :: Sign up deadline: May 10, 2011 ::

We regard listening as the key act that turns talking into conversation. However, we use these words metaphorically, and not just literally: we do not mean to concentrate on the aural senses, but on the idea that it is the recipient who gives meaning to what they hear. This is how they release the potential in a statement made by another into conversation, whether the conversation is in words, acts, gestures, or indeed any other medium of communication. This can lead to the development of understanding of the other so important in human relations (perhaps specially in fields such as psycho-therapy, management, education and music). Continue reading