AI can streamline the painstaking work of mixing and editing tracks. But it’s also easy to see how AI-generated music will make more money for giant streaming services at the expense of artists.
In today’s episode, we look at how sound and noise are used as tactics of protest and how practitioners are using environmental soundscapes to protest against racism and police brutality.
Recent research on Danish shows that not only is it hard for Danish children to learn their mother tongue, but adult Danes use their native language differently than speakers of other languages.
The music we choose to listen to not only allows us to retreat into a place of peace and privacy, but also helps frame our daily routines and interactions with others.
Working with bone artefacts from archaeological sites in South Africa’s southern Cape region, we’ve been able to show that some implements might have been used for sound production in the past.
When a sound is made, it spreads. And when it hits a hard surface that is far away, it bounces back and comes back to where the sound was made. That’s what we call an echo.
Sound, as a still relatively unexplored medium of urban design, provides an obvious starting point in the search for new relationships and identities in the contemporary city.
Communities have an increasing desire to be informed and included in local art, design and infrastructure projects. This has inspired new ways of dealing with noise-afflicted areas.
Unlike vision or touch, sound is much more difficult to control or avoid; music in particular spills across thresholds and intrudes into situations where it is unwelcome.
From Long Range Acoustic Devices used to disperse protesters to ear-splitting military drones to songs blasted on rotation to prisoners, ours is an age in which sound has been repositioned as a tool of terror.
Your own choice of music in a restaurant, your preferred language in a cinema, and a personal tour in a museum. All are possible if you can control the sound in almost any place.