Category: Sonic Arts & Multimedia

Acousmatic Echoes of the Ruchový Archiv, 1968-1989

Posted on 23rd June 202523rd June 2025 by Sara Pinheiro (Film and Television Academy of Performing Arts, Prague) & Jonáš Kucharský (National Film Archive, Prague)

DOI: 10.5920/DivP.2025.01 Abstract Acousmatic Echoes of the Ruchový Archiv 1968–89 is a fixed-media composition derived from digitised dubbing tapes from

Lukas Kühne’s Tvísöngur: Sculpture for a Concrete, Uncompressed Voice

Posted on 6th August 202423rd June 2025 by Olivia Louvel (University of Brighton)

DOI: 10.5920/DivP.2024.03 Abstract This article draws from fieldwork and investigates the site-specific sound sculpture Tvísöngur (2012), conceived by sculptor Lukas

David Vélez - Biodiversity and Creativity

Biodiversity and Creativity in Sonic Art: Underwater and Subterranean Recordings in Environmental Practice

Posted on 6th August 20249th August 2024 by David Vélez (University of Huddersfield)

DOI: 10.5920/DivP.2024.02 Abstract This audio paper examines sonic artists approaching hydrophones and geophones to advance artworks that enhance creativity and

David Vélez - Listening with Edible Plants

Listening with Edible Plants in Sonic Art

Posted on 6th August 20249th August 2024 by David Vélez (University of Huddersfield)

DOI: 10.5920/DivP.2024.01 Abstract This autoethnographic article reflects on artistic practice investigating how edible plants sense sound and the political and

Electroacoustic Composition Process as Com-position

Posted on 24th October 20235th August 2024 by Fulya Ucanok (Istanbul Bilgi University)

DOI: 10.5920/DivP.2023.05 Abstract This article introduces a framework for a socio-sonic composition model, informed by feminist, non-anthropocentric and new-materialist strands of thought. The model

Alice Shields’ Apocalypse and the Beginnings of Electronic Opera

Posted on 24th October 20235th August 2024 by Treya Nash (Louisiana State University)

DOI: 10.5920/DivP.2023.03 Abstract Between 1987 and 1993, computer music pioneer and opera singer Alice Shields wrote three electronic operas, Shaman, Mass for the

Reinventing Harmony in Splintered Echoes (2014)

Posted on 2nd February 20159th May 2019 by Paulina Sundin & Monty Adkins (University of Huddersfield)

This paper discusses the new harmonic possibilities enabled through the implementation of Sethares’ theory of the dissonance curve in MAX and its use in a live electronic composition Splintered Echoes with Monty Adkins (composer), Jonny Axelsson (composer and percussionist) and Adrian Gierakowski (programmer).

Patterns in Radical Spectra

Posted on 2nd February 20159th May 2019 by Mark Fell

This paper contextualises my creative practice produced over the past 20 years and discuss how some of the themes arising from this work relate to some of my contemporaries and wider musical and cultural thinking. These works have little or no percussive content yet are still loosely defined as, or considered to be, ‘post-techno’ (I discuss this term below). Here I describe these works, consider my relationships to them, and reflect upon my responses to those works – leading to the installation ‘The Moment of Impact’ (exhibited as part of the Beyond Pythagoras Symposium, March 2014).

Strata Sequence: From Musical Rocks to Palaeo-Soundscapes

Posted on 2nd February 20159th May 2019 by Robert Mackay (University of Hull)

Strata Sequence is a body of work comprising a range of creative outputs, including compositions and installations. The work represents a series of collaborations with museums and festivals related by the theme of geology.

Introduction: Sound.Music.Image

Posted on 2nd June 20149th May 2019 by Julio D'Escriván (University of Huddersfield)

The idea of compiling artistic research together with more traditional academic research is not new, but in my view is not practiced enough either. In the case of music these days, composers tend to have a university education, often at graduate level, which allows for a more fluid conversation with musicology and other text-based (as opposed to object-based) forms of research in music. This issue of the Divergence Press journal was called with the intention of enabling this conversation to take place particularly within the field of audiovision: music, sound, and the moving image.