According to Caleb Kelly, there has been an increased interest and development of the theory in culture as it relates to sound. In support of the notion above, the author purports that, Les Back and Michael Bull emphasizes that the human experience of our daily lives is predominantly meditated by a mass of mechanically generated sounds. In concurrence with the above, the author argues that cities in the modern day are noisier than they were before the sound culture evolved. Kelly in his arguments establishes that sound has gained a foothold in our understanding of art subsequent to the many large-scale art exhibitions specifically focussed on sound. Some of these exhibitions include Volume: Bed Sound among many others. Kelly goes further and explores sound concepts that in essence has fosters the developing theory in sound culture. In essence, the author explores the concept of sound, a distinction of volume form noise, and the concept of musical composition. Apparent for these concepts is the fact that music in the modern day has developed predominantly on the theoretical line.
Soldering an essential skill in hardware hacking. The procedures provided in chapter six establishes the fact that we ought to adhere to a certain course of action to avoid accidents that may happen subsequently. The accredited course of action as provided in the procedure, is the one where one ought to melt the solder on top of two surfaces meant to join. And then let the two surfaces curdle together as you melt the solder till a strong bond is formed. In conducting this procedure, cleanliness, and steady hands are paramount. Another procedure that is imperative in learning sound concepts is the making of a contact mike, using Piezo disks to pick up tiny sounds. Apparently, the trick in making a perfect contact mike is to make a firm physical contact with the vibrating objects.
Rosalind Krauss criticises the all-encompassing trend of historicization on grounds of superficial similarities that make sense of minimal modernist sculpture. Alternatively, he emphasizes and establishes the use of modernism as the break between sculpture and its site fostered by the antagonism between architecture and landscape.