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
Continue reading
DOI: 10.5920/DivP.2024.02 Abstract This audio paper examines sonic artists approaching hydrophones and geophones to advance artworks that enhance creativity and
Continue reading
DOI: 10.5920/DivP.2024.01 Abstract This autoethnographic article reflects on artistic practice investigating how edible plants sense sound and the political and
Continue reading
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
Continue reading
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
Continue reading
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).
Continue reading
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).
Continue reading
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.
Continue reading
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.
Continue reading
This article presents an overview of a visual music collaboration between film-maker Dr Nick Cope and electroacoustic composer Professor Tim Howle. The article draws heavily on research for the former’s recently completed PhD by Existing Published Work, Northern Industrial Scratch: The History and Contexts of a Visual Music Practice (University of Sunderland, October 2012). This article specifically addresses the contexts of the collaboration Electroacoustic Movies, which forms one element of a wider body of work addressed in the PhD. With online links directly to the works in question, the critical and historical contexts with which the practice engages are examined and elaborated.
Continue reading