PROGRAMME
Sessions & Themes
- Seeing/sound
- Sound reflection: technology and process in practice
- Hearing/words; listening/silence
- Placing sound/sounding place
- Embodied sound
- Shut up!: music and art and drama
- (Between) listening – seeing – reading
- Cinema and sound
Schedule
Wednesday 4 September
9.30-10.30 Registration
10-10.30 Coffee and tea
10.30-12.30 INTRODUCTION & SESSION 1: Seeing/sound
12.30-1.30 Lunch
1.30-3.30 SESSION 2: Hearing/words; listening/silence
3.30-4 Coffee and tea
4-5.20 SESSION 3: Sound reflection: technology and process in practice
6.30-7.30 Wine reception and installations (School of Art)
7.30–8.30 The Courtauld Institute of Art Lecture: Irene Noy & Michaela Zöschg, 'Listening art historians: a cross-period collage of seeing and hearing' (The Courtauld Institute of Art, London, UK)
9.30-10.30 Registration
10-10.30 Coffee and tea
10.30-12.30 INTRODUCTION & SESSION 1: Seeing/sound
12.30-1.30 Lunch
1.30-3.30 SESSION 2: Hearing/words; listening/silence
3.30-4 Coffee and tea
4-5.20 SESSION 3: Sound reflection: technology and process in practice
6.30-7.30 Wine reception and installations (School of Art)
7.30–8.30 The Courtauld Institute of Art Lecture: Irene Noy & Michaela Zöschg, 'Listening art historians: a cross-period collage of seeing and hearing' (The Courtauld Institute of Art, London, UK)
Thursday 5 September
9.00-10.30 SESSION 4: Placing sound/sounding place
11-11.30 Coffee and tea
11.30-1.10 SESSION 5: Embodied sound
1.10-2.10 Lunch
2.10-3.30 SESSION 6 A & B (parallel): Shut up!: music with art with drama
3.30-5.50 Coffee and tea and SESSION 7: Performances
7.30 Conference Dinner
9.00-10.30 SESSION 4: Placing sound/sounding place
11-11.30 Coffee and tea
11.30-1.10 SESSION 5: Embodied sound
1.10-2.10 Lunch
2.10-3.30 SESSION 6 A & B (parallel): Shut up!: music with art with drama
3.30-5.50 Coffee and tea and SESSION 7: Performances
7.30 Conference Dinner
Friday 6 September
9-10.00 KEYNOTE: Salomé Voegelin, 'Sound words and sonic fictions' (London College of Communication, UK)
10.00-11.30 SESSION 8 A and B (parallel): (Between) listening–seeing–hearing
11.30-12 Coffee and tea
12-1 SESSION 9: Cinema and sound (Part 1)
12.30-1.30 Lunch
1.30-2.00 Arts Centre Visit
2.00-3.30 SESSION 10: Cinema and sound (Part 2) & concluding remarks
3.30-4 Coffee and tea and close
9-10.00 KEYNOTE: Salomé Voegelin, 'Sound words and sonic fictions' (London College of Communication, UK)
10.00-11.30 SESSION 8 A and B (parallel): (Between) listening–seeing–hearing
11.30-12 Coffee and tea
12-1 SESSION 9: Cinema and sound (Part 1)
12.30-1.30 Lunch
1.30-2.00 Arts Centre Visit
2.00-3.30 SESSION 10: Cinema and sound (Part 2) & concluding remarks
3.30-4 Coffee and tea and close
Sessions
INTRODUCTION & SESSION 1: Seeing/sound
10.30-10.50 John Harvey, Welcome and Introduction
10.50-11.10 Charlotte Jones, ‘Walking the canal two-paths of Staffordshire, how can the sounds encountered by captured in visual form? What
happens when Klee’s Twittering Birds meets Messiaen’s Petites Esqisses d’oiseaux?’ (Loughbrough University, UK)
11.10-11.30 Ireti Olowe, ‘Real-time graphic visualization of multi-track sound: establishing a cross-modal relationship between geometrical form and
electronic music’ (Queen Mary, University of London, UK)
11.30-11.50 Jan Thoben, 'Octophonetics: early audiovisual practice within the spectrum of noise’ (Humboldt Universität, Berlin, DE)
11.50-12.10 Samantha Blickhan, 'Aura, perception, and digital surrogates: on the modern interpretation of early sources of music notation’ (Royal
Holloway, University of London, UK)
12.10-12.30 Questions
SESSION 2: Hearing/words; listening/silence
1.30–1.50 Serena Le, ‘Hearing by seeing: modernist text and the ineluctable auralities of the visual’ (University of California, Berkeley, USA)
2.10 –2.30 James Lavender, ‘Silence, Emptiness, and Interpenetration in John Cage's Aesthetics’ (University of Leeds, UK)
2.30–2.50 Nicolau Centola, ‘Chance in poème électronique’ ((Universidade Estadual Paulista Júlio de Mesquita Filho, Sao Paulo, BR)
2.50-3.10 James Wilkes, ‘Making poetry from neuroscience: text, noise and sonic atmospheres from the laboratory’ (Birkbeck College, University
of London, UK)
3.10–3.30 Questions
SESSION 3: Sound reflection: technology and process in practice
4-4.20 Duncan MacDonald, ‘Sound and process in the studio: an artist’s talk’ (Brock University, Ontario, CA)
4.20-4.40 Dafydd Roberts, ‘Databending the peacock’s tail’ (Aberystwyth University, UK)
4.40-5.20 Harriet Lewars and Lewis Jones, ‘Frustum super planum: composing sculptural instruments' (London Metropolitan University, UK)
4.40-5 Questions
WINE RECEPTION
6.30-7.30 Installation: Calum Scott, ‘String waves’ (University of Glasgow, UK)
Installation: Andrew McPherson, 'The magnetic resonator piano: electronic augmentation of an acoustic musical instrument'
(Queen Mary, University of London, UK) [installation and demonstration]
7.30-8.30 The Coutauld Institute of Art Lecture: Irene Noy & Michaela Zöschg, 'Listening art historians: a cross-period collage of seeing and hearing' (The Courtauld Institute of Art, London, UK)
SESSION 4: Placing sound/sounding place
9-9.20 Hilary Mullaney, ‘”Truer than true”: place and the compositional process’ (Plymouth University, UK and DkiT, Dundalk, IE)
9.20-40 Ruth Farrar, ‘From Bristol to Brooklyn: in search of soundmarks’ (University of Exeter, UK)
9.40-10 Lucy Gough, ‘A palace of imagination’ (Aberystwyth University, UK)
10-10.20 Urs Walter, ‘Audible architectural models’ (Berlin Institute of Technology, DE)
10.20-10.40 Cécile Colle / Ralf Nuhn, ‘ParaSites: antibodies’ (Middlesex University, London, UK)
10.40-11 Questions
SESSION 5: Embodied sounds
11.30-11.50 Andrew Goodman, ‘The noise in the noise: micro-perception as affective disruption to listening and the body’ (Monash University,
Melbourne, AU) (v)
11.50-12.10 Rudi Knoops, ‘The framing function of the body: a phenomenological inquiry’ (KU Leuven, BE)
12.10-12.30 Richard Couzins, ‘Object and material voice in art practice’
12.30-12.50 Christine Ellison, ‘The agency of noise: adventures in non-cochlear sound’ (University of Reading, UK)
12.50-1.10 Questions
SESSION 6A: Shut up!: music with art with drama
2.10-2.30 Martha Littlehailes, ‘Sound-art practice in radio drama at the BBC’ (BBC, UK)
2.30-2.50 Tristian Evans, ‘Open ended interactions: examining intersections in minimalist music, art and new media’ (University of Bangor, UK)
2.50-3.10 Meredith Mowder, 'Hot topic: an art history of riot grrrl and feminist punk performance' (City University of New York, USA) (v)
3.10-3.30 Ania Mauruschat, 'Noise, soundplay, media art: On the re-invention of German Hörspiel by Andreas Ammer & Co'
(University of Basel, CH)
3.30-3.50 Questions
SESSION 6B: Shut up!: music with art with drama
2.10-2.30 Andrew Cappetta, ‘Fast product: punk conceptualism’ (CUNY, USA)
2.30-2.50 Fiona McGovern, ‘Let me show you some music: some thoughts on how the exhibition today serves as a for the presentation and
reception of music, record art, and label work’ (Free Universität, Berlin, DE)
2.50-3.10 Nadine Soell, ‘Can visual art freeze live music moments’ (Free University, Berlin, DE)
3.10-3.30 Lisa Steib, ‘Terry Fox hit a bowl of water against the floor and made a sound like bong: the art of Terry Fox since 1970’ (Leipzig, DE)
3.30-3.50 Questions
SESSION 7: Performances
Sound reflection: technology and process in practice
3.50-4.10 Installation: Paul Rogers, ‘The media machine: a real-time, performative, sound & object based installation’ (Goldsmiths, University of
London, UK)
Hearing/words; listening/silence
4.10-4.30 Maura Hazelden, ‘Movement: past, possible, present [and mention of letters] in Pride and Prejudice by Jane Austen’
4.30-4.50 Johanna Hallsten, ‘Translating a composition: performing the interval II’ (Loughborough University, UK)
(Between) listening – seeing – reading
4.50-5.10 Amanda Stuart, ‘The creative process of a sonic artist: works inspired by Paul Klee and my poem "Not Missing You"’ (Royal Welsh
College of Music and Drama)
Embodied sound
5.10-5.30 Michelle Lewis-King, ‘Pulse project: a performative study at the intersections between art, science, east, west, self and other’
5.30-5.50 Questions
SESSION 8A: (Between) listening–seeing–hearing
10-10.20 Sarah Blair, ‘Tinkering at the edges: sounds in contemporary graphic novels’
10.20-10.40 Kerry Andrews, ‘Wandering form: a wayfarer’s guide to sound, image and words’ (University of Hertfordshire, UK)
10.40-11 Luca Nasciuti, ‘Epoche: a case study on visual imagery’
11-11.20 Questions
SESSION 8B: (Between) listening–seeing–hearing
10-10.20 Rhys Davies, ‘Zang tumb tuumb: sound design through other means’
10.20-10.40 James Dickinson, ‘Dynamic process in static form’
11.00-11.20 Questions
SESSION 9: Cinema and sound (Part 1)
12-12.20 Melissa L Mednicov, ‘Soundtrack not included: listening to Andy Warhol’s Sleep’ (Sam Houston State University, USA)
12.20-12.40 Tim Howle, ‘Making electroacoustic movies III’
12.40-1 Ben Gwilliam, ‘Around the frame: the reduced Wochenende’
SESSION 10: Cinema and sound (Part 2)
2-2.20 Simone Schmidt, ‘Voice in Acconci’s performance and video practice’ (Monash University, Melbourne, AU)
2.20-2.40 Robert Dean and Ben Challis, ‘Live digital-foley: the machines of Metropolis' (University of Glamorgan, UK)
2.40-3.00 Questions
3-3.30 John Harvey, Concluding remarks
10.30-10.50 John Harvey, Welcome and Introduction
10.50-11.10 Charlotte Jones, ‘Walking the canal two-paths of Staffordshire, how can the sounds encountered by captured in visual form? What
happens when Klee’s Twittering Birds meets Messiaen’s Petites Esqisses d’oiseaux?’ (Loughbrough University, UK)
11.10-11.30 Ireti Olowe, ‘Real-time graphic visualization of multi-track sound: establishing a cross-modal relationship between geometrical form and
electronic music’ (Queen Mary, University of London, UK)
11.30-11.50 Jan Thoben, 'Octophonetics: early audiovisual practice within the spectrum of noise’ (Humboldt Universität, Berlin, DE)
11.50-12.10 Samantha Blickhan, 'Aura, perception, and digital surrogates: on the modern interpretation of early sources of music notation’ (Royal
Holloway, University of London, UK)
12.10-12.30 Questions
SESSION 2: Hearing/words; listening/silence
1.30–1.50 Serena Le, ‘Hearing by seeing: modernist text and the ineluctable auralities of the visual’ (University of California, Berkeley, USA)
2.10 –2.30 James Lavender, ‘Silence, Emptiness, and Interpenetration in John Cage's Aesthetics’ (University of Leeds, UK)
2.30–2.50 Nicolau Centola, ‘Chance in poème électronique’ ((Universidade Estadual Paulista Júlio de Mesquita Filho, Sao Paulo, BR)
2.50-3.10 James Wilkes, ‘Making poetry from neuroscience: text, noise and sonic atmospheres from the laboratory’ (Birkbeck College, University
of London, UK)
3.10–3.30 Questions
SESSION 3: Sound reflection: technology and process in practice
4-4.20 Duncan MacDonald, ‘Sound and process in the studio: an artist’s talk’ (Brock University, Ontario, CA)
4.20-4.40 Dafydd Roberts, ‘Databending the peacock’s tail’ (Aberystwyth University, UK)
4.40-5.20 Harriet Lewars and Lewis Jones, ‘Frustum super planum: composing sculptural instruments' (London Metropolitan University, UK)
4.40-5 Questions
WINE RECEPTION
6.30-7.30 Installation: Calum Scott, ‘String waves’ (University of Glasgow, UK)
Installation: Andrew McPherson, 'The magnetic resonator piano: electronic augmentation of an acoustic musical instrument'
(Queen Mary, University of London, UK) [installation and demonstration]
7.30-8.30 The Coutauld Institute of Art Lecture: Irene Noy & Michaela Zöschg, 'Listening art historians: a cross-period collage of seeing and hearing' (The Courtauld Institute of Art, London, UK)
SESSION 4: Placing sound/sounding place
9-9.20 Hilary Mullaney, ‘”Truer than true”: place and the compositional process’ (Plymouth University, UK and DkiT, Dundalk, IE)
9.20-40 Ruth Farrar, ‘From Bristol to Brooklyn: in search of soundmarks’ (University of Exeter, UK)
9.40-10 Lucy Gough, ‘A palace of imagination’ (Aberystwyth University, UK)
10-10.20 Urs Walter, ‘Audible architectural models’ (Berlin Institute of Technology, DE)
10.20-10.40 Cécile Colle / Ralf Nuhn, ‘ParaSites: antibodies’ (Middlesex University, London, UK)
10.40-11 Questions
SESSION 5: Embodied sounds
11.30-11.50 Andrew Goodman, ‘The noise in the noise: micro-perception as affective disruption to listening and the body’ (Monash University,
Melbourne, AU) (v)
11.50-12.10 Rudi Knoops, ‘The framing function of the body: a phenomenological inquiry’ (KU Leuven, BE)
12.10-12.30 Richard Couzins, ‘Object and material voice in art practice’
12.30-12.50 Christine Ellison, ‘The agency of noise: adventures in non-cochlear sound’ (University of Reading, UK)
12.50-1.10 Questions
SESSION 6A: Shut up!: music with art with drama
2.10-2.30 Martha Littlehailes, ‘Sound-art practice in radio drama at the BBC’ (BBC, UK)
2.30-2.50 Tristian Evans, ‘Open ended interactions: examining intersections in minimalist music, art and new media’ (University of Bangor, UK)
2.50-3.10 Meredith Mowder, 'Hot topic: an art history of riot grrrl and feminist punk performance' (City University of New York, USA) (v)
3.10-3.30 Ania Mauruschat, 'Noise, soundplay, media art: On the re-invention of German Hörspiel by Andreas Ammer & Co'
(University of Basel, CH)
3.30-3.50 Questions
SESSION 6B: Shut up!: music with art with drama
2.10-2.30 Andrew Cappetta, ‘Fast product: punk conceptualism’ (CUNY, USA)
2.30-2.50 Fiona McGovern, ‘Let me show you some music: some thoughts on how the exhibition today serves as a for the presentation and
reception of music, record art, and label work’ (Free Universität, Berlin, DE)
2.50-3.10 Nadine Soell, ‘Can visual art freeze live music moments’ (Free University, Berlin, DE)
3.10-3.30 Lisa Steib, ‘Terry Fox hit a bowl of water against the floor and made a sound like bong: the art of Terry Fox since 1970’ (Leipzig, DE)
3.30-3.50 Questions
SESSION 7: Performances
Sound reflection: technology and process in practice
3.50-4.10 Installation: Paul Rogers, ‘The media machine: a real-time, performative, sound & object based installation’ (Goldsmiths, University of
London, UK)
Hearing/words; listening/silence
4.10-4.30 Maura Hazelden, ‘Movement: past, possible, present [and mention of letters] in Pride and Prejudice by Jane Austen’
4.30-4.50 Johanna Hallsten, ‘Translating a composition: performing the interval II’ (Loughborough University, UK)
(Between) listening – seeing – reading
4.50-5.10 Amanda Stuart, ‘The creative process of a sonic artist: works inspired by Paul Klee and my poem "Not Missing You"’ (Royal Welsh
College of Music and Drama)
Embodied sound
5.10-5.30 Michelle Lewis-King, ‘Pulse project: a performative study at the intersections between art, science, east, west, self and other’
5.30-5.50 Questions
SESSION 8A: (Between) listening–seeing–hearing
10-10.20 Sarah Blair, ‘Tinkering at the edges: sounds in contemporary graphic novels’
10.20-10.40 Kerry Andrews, ‘Wandering form: a wayfarer’s guide to sound, image and words’ (University of Hertfordshire, UK)
10.40-11 Luca Nasciuti, ‘Epoche: a case study on visual imagery’
11-11.20 Questions
SESSION 8B: (Between) listening–seeing–hearing
10-10.20 Rhys Davies, ‘Zang tumb tuumb: sound design through other means’
10.20-10.40 James Dickinson, ‘Dynamic process in static form’
11.00-11.20 Questions
SESSION 9: Cinema and sound (Part 1)
12-12.20 Melissa L Mednicov, ‘Soundtrack not included: listening to Andy Warhol’s Sleep’ (Sam Houston State University, USA)
12.20-12.40 Tim Howle, ‘Making electroacoustic movies III’
12.40-1 Ben Gwilliam, ‘Around the frame: the reduced Wochenende’
SESSION 10: Cinema and sound (Part 2)
2-2.20 Simone Schmidt, ‘Voice in Acconci’s performance and video practice’ (Monash University, Melbourne, AU)
2.20-2.40 Robert Dean and Ben Challis, ‘Live digital-foley: the machines of Metropolis' (University of Glamorgan, UK)
2.40-3.00 Questions
3-3.30 John Harvey, Concluding remarks
