Norwegian artist Jana Winderen has created a sound montage. It is called “Ultrafield.”

She used special equipment to capture the ultrasonic radar made by bats. And she used ultra-sensitive underwater microphones to record the movements of sea beetles. She wants to bring attention to endangered environments. And she hopes to give listeners a chance to experience their magic.

“And I am actually hoping people can slow down and enjoy also the listening experience in itself, not necessarily thinking about what it is, or what kind of a message I have with it.”

At a distance of five meters or so, Tristan Perich’s “Microtonal Wall” produces “white noise.”

That is a sound containing so many sounds, or pitches, that no individual one can be recognized. Leaves blowing in the wind and ocean waves are both examples of this.

Tristan Perich has broken four octaves of the musical scale into 1,500 pitches. He also gave each pitch its own small speaker. Close up, or moving slowly past those speakers, one can hear their differences.

“My piece, with 1,500 speakers, each playing individual pitches, is still just a finite fraction of this infinite sound. It’s just a gesture towards this idea of the infiniteness of white noise.”

Susan Philipsz' “Study for Strings” is perhaps the saddest piece in the show. It is based on a 1943 orchestral work by a Czech man, Pavel Haas. He wrote the piece while detained in a German concentration camp during World War II.