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
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DOI: 10.5920/DivP.2024.02 Abstract This audio paper examines sonic artists approaching hydrophones and geophones to advance artworks that enhance creativity and
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DOI: 10.5920/DivP.2024.01 Abstract This autoethnographic article reflects on artistic practice investigating how edible plants sense sound and the political and
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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
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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
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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.
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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).
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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).
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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.
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This paper examines the topic of sound-image relations in its evolution towards the contemporary context of digital computational audiovisuality and its interactive forms. It addresses the multiplicity of sound and image relations and their different conceptions, and then focuses on aesthetic artefacts that propose interactive experiences articulated through images and sounds.
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