Sound / Image
Exploring sonic and audio-visual practice
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SOUND/IMAGE 2025 Festival – Talks 5
Day Four: Sunday 9 November 10am-12pm: Talk 5 Lecture Theatre, Stockwell Street Academic Building Andy Popperwell – Somewheres East of Suez: Eighteenth Century Voices “Time passes. Listen. Time passes. Come closer now. Only you can hear the houses sleeping in the streets in the slow deep salt and silent black, bandaged night.” Dylan Thomas’s description…
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SOUND/IMAGE 2025 Festival – Talks 4
Day Three: Saturday 8 November 2-4pm: Talk 4 Lecture Theatre, Stockwell Street Academic Building Richard Whitby – Evicshen’s Liveness This presentation examines the currency and impact of live, embodied performance at a time when cultural production is increasingly automated and ‘inhuman’. It is built on a case study of sound artist and instrument maker Evicshen…
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SOUND/IMAGE 2025 Festival – Talks 3
Day Three: Saturday 8 November 10am-12pm: Talk 3 Lecture Theatre, Stockwell Street Academic Building Cornelia Lund & Ana Carvalho – Lines between Sight and Sound. New Developments in AV Performance AV performances involving the real-time processing of images and sound have long been an integral part of artistic expression in areas such as the arts,…
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SOUND/IMAGE 2025 Festival – Talks 2
Day Two: Friday 7 November 2-4pm: Talk 2 Studio 1, Bathway Theatre Dan Stern – Listening-With as Resistance: Spatialising Polyphony after Deleuze and Glissant This paper emerges from a practice of spatialising sound through polyphonic improvisations on tenor saxophone within multichannel environments. My starting point is the question of how power might be challenged through…
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SOUND/IMAGE 2025 Festival – Talks 1
Day Two: Friday 7 November 10am-12pm: Talk 1 Studio 1, Bathway Theatre Natasha Barrett – The spatial subject as real and abstracted in audio-visual creations This presentation touches on two recent works: the immersive audio-visual composition “Constructions of Collapse and Desire” which uses 3D LiDAR, 3D impulse responses and ambisonics to leverage features of real-world…
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SOUND/IMAGE 2025 Festival – Talks
Day Two: Friday 7 November 10am-12pm: Talk 1 Studio 1, Bathway Theatre Natasha Barrett The spatial subject as real and abstracted in audio-visual creations Andrew Knight-Hill “Reflecting Forwards” – 10 Years of SOUND/IMAGE 2-4pm: Talk 2 Studio 1, Bathway Theatre Dan Stern Listening-With as Resistance: Spatialising Polyphony after Deleuze and Glissant Jesse Austin-Stewart Approaches to…
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Jane Frances Dunlop and Brona Martin
Immersive Experimentations 2nd August 2024 A presentation of works in progress by Jane Frances Dunlop and Brona Martin. Jane Frances Dunlop and Brona Martin shared new artworks created with the support of the Early Career Academic Pilot Project Fund using the new Shared Hub Immersive Future Technologies (SHIFT) facilities at the University of Greenwich. The presentation…
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Nicola Plant
Cross Modal Machine Learning in Creative Practice 25th June 2024, Bathway Theatre, Woolwich Nicola’s talk included a discussion on artistic process: ‘cross modalmachine learning in creative practice’, VR demos and a Q&A. BiographyNicola Plant is an artist, creative technologist and researcher withan academic and artistic practice interested in empathy, embodimentand movement-based interactive art technology and…
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SOUND/IMAGE 2024 Festival – Talks 6
Day Four: Sunday 10 November 2-4pm: Talk 6 Lecture Theatre, Stockwell Street Academic Building Simon Emmerson – An Imaginary Soundwalk This paper picks up from my contributions to the Sound Art Brighton Festival (2022) catalogue essay (‘The global dérive flâneur’), to MuSA 2023 (Manchester) – ‘Imagination and Image (in sonic art)’ and to the Spatial…
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SOUND/IMAGE 2024 Festival – Talks 5
Day Four: Sunday 10 November 10am-12pm:Talk 5 Lecture Theatre, Stockwell Street Academic Building Simon Knighton – Sculpting Sound: Exploring the Creative Affordances of Material Agency in the Generation of Novel Tuning Systems. Throughout the 20th and 21st centuries, many composers have explored methods of finding freedom from both the fixed rigidity of the notated score…