Acousmatic Echoes of the Ruchový Archiv, 1968-1989
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
Continue readingDOI: 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
Continue readingDOI: 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 readingDOI: 10.5920/DivP.2024.02 Abstract This audio paper examines sonic artists approaching hydrophones and geophones to advance artworks that enhance creativity and
Continue readingDOI: 10.5920/DivP.2024.01 Abstract This autoethnographic article reflects on artistic practice investigating how edible plants sense sound and the political and
Continue readingDOI: 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 readingDOI: 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 readingThis 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 readingThis 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 readingStrata 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 readingThe 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.
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