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  • Micromega
    The audio on Micromega is an experimentation in live de-instrumentation, cut-up, and sound production, drawing inspiration from the work of Lou Reed, Brian Eno, Alvin Lucier and La Monte Young, among others. A single electric guitar is processed to
  • A beautifully crafted set of four tea towels sporting a series of authentic search engine results returned to a user when the criteria, 'Please Help Me', 'Is Anybody there?', 'Please listen to me' and, 'Can you hear me?' were entered into the search
  • Basanta, Adam. Tracing Conceptual Structures in Listener Response Studies New York, USA: EMS 11, 2011.
  • Listening Post -
    Listening Post is situated in the permanent collections of the Science Museum, South Kensington, London, and is on site loan to the Decode exhibition. It can be viewed on the first floor of the Science Museum. Listening Post has been presented
  • which---side -
    Which --- Side Song sculpture for OffCentre, Newcastle City Council projects in the public realm 2006-2007. 'Which Side' is a version of the union protest song 'Which Side Are You On?'. The song is available for download as an mp3 file from
  • Eidsheim, Nina Sun. Sensing Sound: Singing and Listening as Vibrational Practice. United States of America: Duke University Press, 2015.
  • I’m a Digital Artist & Graphic Designer from Cairo,Egypt. Most of my artworks are currently classified as portraits (Digital Portraits). My artwork is a product of improvisation and listening to a music track while working on each piece...
  • Mark Hansen is Professor of Statistics and the Vice-Chair for Graduate Studies at the University of California, Los Angeles. He is also co-principal investigator for the US-based Center for Embedded Sensing, studying the impact of new micro-sensing
  • Chris Salter. The Architecture of Listening, Crossfade: Sound Travels on the Web .
  • Sanchez Cardona, LM. Vis. [un]necessary force_4. Artistic practice and communities immersed in search processes for victims of enforced disappearance in Mexico In Seven experiences of listening and protest in artistic practices, edited by Ana