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Session with David Mollin – Research Project intro
This session was led by David Mollin, who introduced the two final year routes: Dissertation (route A) and an audio paper (route B). He also went through the proposal document we need to submit, breaking it down in a way that quite open rather than overly strict. We spent a lot of the session working…
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Approaching installation methods
In this session we explored the possibilities of using transducers speakers within sound art practice. Transducers are small speakers that vibrate objects instead of pushing sound directly into the air like traditional speakers. This means almost any object or surface can become a speaker itself. Boxes, can, tables, windows or even walls can shape the…
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Listening when things aren’t clear: Exploring Sound and Inverse Effectiveness
We usually don’t trust what we see first. Vision feels immediate and reliable. But what happens when what we hear is unclear, quiet or incomplete? Do we ignore it, or do we start listening more closely? This is where the idea of Inverse Effectiveness becomes interesting. It suggests that when signals are weak on their…
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Scores, protocols and actions processual making
Scores and protocol in Sound Art Score Scores organise performance actions in real time, they are not just instructions, they are actually the work itself. A score can function as both a guide and contextual framework, allowing the piece to exist is several different interpretations and performances. Unlike traditional musical notation, many sound art scores…
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Sensory perception, listening and exploring beyond the visual
In this session we explored sensory perception in the arts as a way to better understand listening and hearing in my own personal Sound arts practice. What stood out to me in this lecture is the idea that senses are not neutral or universal, they’re shaped by our personal experience, cultural and politically through our…