Items where Subject is "Sound art"

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Exploring musicactively can be restricted for someone with cognitive, physical, or sensory impairments. They may face barriers to participation and diminished experiences between their musical expression and the music making means available to them. Technology can be used to bridge these gaps and focus on a person’s capability to create personal instruments that allow for active music making and exploration of sound. Thisdoctoral research aims to look at the use of music technology within the school setting and the needs of the users and those around them.Drawing on this and following an Action Research methodology, a tool will be developed following a participatory design process that utilises both hardware and software, in a modular fashion, to provide a flexible and adaptable system to facilitate music making and sound exploration.The desired outcome will be a toolbox that allows users to put together instruments that suit the needs of those playing them allowing access to musical expression.


Creation of new interfaces for musical expression can be especially challenging when targeted at end users having complex learning needs. Such users have sensory, cognitive, or physical impairments, which affect their ability to play traditional instruments, leading to a diminished music making experience. Technology can often help bridge the gap between the user and their musical intentions. However, its use in schools introduces additional constraints, such as, affordability, acceptance by staff and acceptable learning time. We developed the SenseEgg system to address these issues.



Gobbledegook Theatre’s Ear Trumpet is a site-responsive outdoor theatre performance in which a team of “sonic investigators” have discovered pockets of sound, trapped in the Earth beneath our feet. The show allows audiences to listen, using “ear trumpets”, a collection of recycled trumpets, trombones and gramophone horns that have been re-purposed as listening devices. In this paper, Dr Jon Croose describes the aurality of Ear Trumpet through a qualitative, practice-led methodology of first-person performance-as-research, interviews with the artists, and analysis of audience response. The essay considers Augoyard & Torgue’s notion of ‘sharawadji’ in Ear Trumpet in terms of ‘sonic effect’ (2006, xv; 8) arising, the author argues, from its encouragement of ‘the consciousness of early listening,’ (2006, 13) and through a combination of the sonic effects of anamnesis, de-contextualisation, de-localisation, attraction, phototonie and quotation. The paper considers how Ear Trumpet positions the relationship between ‘physical environment, the socio-cultural milieu, and the individual listener’ (2006, xiii) and reveals how participants’ suspension of disbelief in the pseudo-science of ‘sonic geology’ allows them to posit the possibility of multiple ‘historic dimensions of sound’, in a way that reframes their everyday soundscape and ‘magically and suddenly transports [them] elsewhere’ (2006, xv). Finally, it raises questions about the effect of sharawadji in terms of the tension between theatrical illusion, “belief” and critical distance among audiences, and considers a possible politics of aurality in performance contexts.

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From the inception of sync sound in the late 1920s to the modern day, sound in animation has assumed a variety of forms. This article proposes four principal modes that have developed in the commercial realm of American animation according to changing contingencies of convention, technology and funding. The various modes are termed syncretic, zip-crash, functional and poetic authentication. Each one is utilized to different aesthetic effect, with changing relationships to the image. The use of voice, music, sound effects and atmos are considered as well as the ways in which they are recorded, manipulated and mixed. Additionally, the ways in which conventions bleed from one period to the next are also illustrated. Collectively, these proposed categories aid in understanding the history and creative range of options available to animators beyond the visual realm.



Transmission was a live contemporary artwork commissioned by Arts Council England to help celebrate the 25th anniversary of 'Sea Music’, an immense multi-platform sculpture by Anthony Caro, which has stood on Poole Quay, Dorset since 1991 and is renowned as the artist’s only site-specific artwork.

Working with invited sonic artist Sian Hutchings, Waring conducted extensive research into the material, weight, mass, volume, colour and locational positioning of the sculpture, so as to help
identify methods for making an interpretive and performative artwork comprising simultaneous light projection, sound and moving human bodies. Working within the context of contemporary research into visual and sonic perception, they re-interpreted ‘Sea Music’ as a dynamic catalyst to inspire Transmission, with the performance taking place in the dark and within the actual large-scale structure of Sea Music.

Contemporary dancers improvised to the amplified noise of steel, hearing this for the first time live on the night. This gave the performance a vulnerability, echoing that of the location of the sculpture itself which is perched precariously on the edge of the quayside. Drawing on Steyerl’s treatise on the dramatic impact of new technologies of surveillance, tracking and targeting our spatial and temporal orientation, the performance required that dancers respond to the sound, whilst a horizon of white light swept up and down, simulating the smooth progression of a scanner as it collects data.

Transmission had an active engagement programme, with full video documentation for Poole Museum, including two public lectures by the director of the Yorkshire Sculpture Park, Peter Murray, and by Alistair Sooke, art critic and TV presenter. Waring’s subsequent research projects for ITV and the 2019 exhibition commission for Dazzle: Disguise and Disruption owed much to the collaborative learning from Transmission.

Transmission (8.5 mins)


This list was generated on Mon Oct 2 18:36:32 2023 UTC.