Jordan Wirfs-Brock is making innovative sonifications for radio. She is working on a PhD in Information Science at the University of Colorado Boulder. Her research explores how voice interaction, sonification, and narrative support people as they learn to listen to data, producing more meaningful and engaging experiences with information. She has studied how people consume news across various devices and transition between offline and online behaviors.

Garth is particularly fascinated with sound as an experiential medium, both in musical performance and as an exhibitable object. He is internationally regarded as an innovator in the field of interactivity in experimental music and media arts. He gave the Keynote at the 2016 NIME conference. In 2018, Garth was an artist in residence at IRCAM (Paris) and ZKM (Karlsruhe). Garth's multi-disciplinary, collaborative Acoustic Ecology Project - Listen(ASU) documents the acoustic ecologies.

Ivanna came to my attention from our mutual friend, Roger Malina. He had met her during a trip to MIT and thought that she might be an interesting person to interview for the "Sound and Data" channel. So this was a bit of a cold call since I was not that familiar with her work. It was amazing to find out the angle at which she is approaching this idea of "sound and data" which was so different from so many of my other guests. I was fascinated.

Brian first came to my attention with the “Data Driven DJ” project which is an amazing set of 10 tracks of various “experiments” in tunes made from data sonification techniques. 
He is an artist and computer scientist living and working in New York City. He is a data visualization artist at the American Museum of Natural History, where he communicate scientific data and research through interactive digital and physical exhibits. In his personal work he combines music, data, and algorithms as the Data-Driven DJ.
Just check it out at https://datadrivendj.com
Here is a reprint of his contact information from https://brianfoo.com
Contact me at hello@brianfoo.com.
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Konstantinos Vasilakos is a performer and composer of Electroacoustic music. His research interests include sonification, gestural improvisation, and live coding with networked music systems. He holds a PhD in Music from Keele University in the UK, and a Masters degree from the Utrecht School of the Arts, in the Netherlands. His works have been presented in the Netherlands, Germany, Czech Republic, Greece, Switzerland, Turkey, and the United Kingdom. He has collaborated with leading research centers such as CERN, in Switzerland, and the Laboratoire ACROE/ICA, at the University of Grenoble, in France. At the moment he resides in Istanbul where he is teaching in the Sonic Arts department of the Dr. Erol Üçer Center for Advanced Studies in Music (MIAM), in the Istanbul Technical University (ITÜ), Istanbul, Turkey.

Here is a pointer to his github regarding a live coding project involving sonification data from the Large Hadron Collider. The project is a collaboration between BEER ensemble (University of Birmingham) and the Art@CMS project at CERN. https://github.com/KonVas/DarkMatte

The public facing aspect of this work can be seen at http://ipsos.web.cern.ch/

A conversation on sonification and electroacoustics between Scot Gresham-Lancaster and Roger Dean, British-Australian musician, academic, biochemist and cognitive scientist. 

Chris Chafe talks about his years of experiences in the field of sonification with Scot Gresham-Lancaster. Chris is the Director of the Stanford Center for Computer Research in Music and Acoustics. Listeners who want to hear some of Chris’s excellent sonification work can go here:

http://chrischafe.net/portfolio/sonification-2/.

His bio is at:

http://chrischafe.net/about-2-2/

A real thrill to get a chance to talk to music technology guru and one of the most dedicated sonification researchers today. It was a great pleasure to talk to Mark about his ideas regarding the direction of future sonificaiton research and the slow and steady approach to acclimating our future culture(s) with the idea of integrating sound in the representation of data as an expected part of the flow of knowledge.

Carla Scaletti is an experimental composer, designer of the Kyma sound design language and co-founder of Symbolic Sound Corporation. Her compositions always begin with a “what-if” hypothesis and involve live electronics interacting with acoustic sources and environments.

The listener is encouraged to first watch Carla’s brilliant keynote at the 2017 International Conference of Audio Display if possible athttps://youtu.be/T0qdKXwRsyM

Scot Gresham-Lancaster meets with colleague Bert Barten to touch bases on a decade-long project called Talking Trees. The project studies the ability of 'mother trees' communicating with their forests through chemical reactions in mycelium. 

Scot Lancaster and Greg Kramer discuss the field of sonification--the use of non-speech audio to convey information or perceptualize data. This conversation deals with its origins and possible uses in the future.

A short discussion with Dr. Vickers about his approach to sonification including some discussion of his recent standup routine regarding sonification as its main topic. 

Our guest's interesting website http://www.lutheriepostmoderne.com/ points to her unique work creating new types of instruments for etheric fields or she says on her site "sonification of the dynamic plane: Instruments and systems tuning in to the volatile and unpredictable potentials of matter, from hard substance to the level of electron spin​" So this is a luthier of new sort. See some videos of her work at: https://vimeo.com/alexeysamovarsky

David Worral is a preeminent scholar regarding sonification. His doctoral thesis on the topic is one of the best resources available for anyone researching this area of study. This is an open and informal discussion of various topics related to sonification. David and Scot have known each other for decades so this an engaging and lively discussion.

Dr. Buongiorno Nardelli is a computational materials physicist and composer. His latest work at www.materialssoundmusic.com is a new computer-aided data-driven composition (CADDC) environment based on the sonification and remix of scientific data streams. Sonification of scientific data, i.e. the perceptualization of information through acoustic means, not only provides a useful alternative and complement to visual data representation, but provides also the raw data for potential artistic remixes and further musical interpretation.

From her perspective as an anthropologist the interest in how non-visual senses (e.g., hearing, taste, and touch) figure in scientific research and knowledge production are discussed. Among these interests sonocytologists who record cellular vibrations, exploring how listening to cells impacts how researchers understand biological processes are discussed.

To quote Mike Winters from the "Project Description" of his Masters Thesis "Strategies for Continuous Auditory Display of Arousal and Valence" in which he states "Sound is capable of profound emotional experiences: one need look no further than the importance of music in film. Sonification is field of research interested in the use of sound to convey information in general, but what happens when the data is emotion?" This discussion scratches the surface of this research and starts the dialog regarding the fuzzy intersection of Art and Science that is presented when researching the techniques associated with affective computing when using data to drive emotional content systematically.

Pauline Oliveros and host Scot Gresham-Lancaster have collaborated on many projects over the years and in this podcast they talk over some of that work with a focus on the pieces at the Art/Science boundary. The Deep Listening Art/Science Conference comes up as well as the interesting "moon bounce" pieces, "Echoes from the Moon"

Here is an extended conversation regarding a broad range of topics relative to sonification including the types and definitions of listening relative to sonification practices as well as a discussion of the blurry space between sound art practice and functional scientific purpose with sonification. Notes on pointers to some of Dr. Grond's work here:

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grond.at/html/projects/moving_equations/moving_equations.htm

This audio visual installation was commissioned for the exhibition The Islands of Benoît Mandelbrot Fractals, Chaos, and the Materiality of Thinking. This work reflects on the role of drawing in nonlinear science—connecting performativity, space, and creative thought processes. It investigates at the same time questions of the representation of dynamical systems as differential equations. In this video you canhear the sounds of drawing being made with a pencil. The varying speeds and pressures that characterize this kind of sound are manipulated via filters, playback speeds, and sound effects based on the lines produced by certain nonlinear equations. Synchronized to these sounds are visual representations of the equations, which change their shades according to the actual state of the selected dynamical system. Listening to the intimate sonic experience and watching the visually changing formula allows one to connect with the dynamical properties of the systems. 

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grond.at/html/projects/sef_cert/s_c.htm


Safety Certificate is a musical performance based on axle box sensor data from high-speed trains. The original purpose of this data is to provide a basis for the assessments of the mechanical aspects of train safety durimng the homologation process. In this performance, the data, which represents dynamical processes in the sub frequent domain and below the audible range, are converted into sound through audification. The sound that is generated live during the performance is manipulated through the Manta control interface, which allows for the convenient layering of 48 different timbres. Safety Certificate was premiered at Seconde Nature in Aix-en-Provence in March 2010 during the Sonification symposium – What Where How Why, organized by Locus Sonus . On the left you will hear excerpts of a the recording from a performance for 8 channels in a stereo downmix.

Special thanks to Fabian Schmid from PJM for the data and Till Bovermann for Manta instructions. I used Alberto DeCampo's SuperCollider class as software interface to the Manta.

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Delay together with Mary Sherman:
https://vimeo.com/118346045

Margaret Schedel is an Associate Professor of Composition and Computer Music at Stony Brook University. Through her work, she explores the relatively new field of Data Sonification, generating new ways to perceive and interact with information through the use of sound. From a longer in depth article athttp://soundstudiesblog.com/2014/10/09/sounds-of-science-the-mystique-of-sonification/ Dr. Schedel states: "In the current fascination with sonification, the fact that aesthetic decisions must be made in order to translate data into the auditory domain can be obscured. Headlines such as “Here’s What the Higgs Boson Sounds Like” are much sexier than headlines such as “Here is What One Possible Mapping of Some of the Data We Have Collected from a Scientific Measuring Instrument (which itself has inaccuracies) Into Sound.” To illustrate the complexity of these aesthetic decisions, which are always interior to the sonification process, I focus here on how my collaborators and I have been using sound to understand many kinds of scientific data." We talk at length about these general topics.

Andrew Blanton and Scot Gresham-Lancaster introduce and discuss CONDUCTOR, an exploration in real-time sound diffusion using multiple iOS devices as sensors for the placement of sound.

The design references the historical use of spatial dimensions in music and addresses how the disintegration of traditional audience/performer roles creates massive implications for this new approach to "conducting". The system requires at least four channels of audio for 360 degree audio spatialization.