Talks

Each year the SOUND/IMAGE conference presents talks from academics and artists reflecting on the creation and our understandings of audiovisual works.

Below you will find details of all talks from previous events:


Verbalizing Sculptural Sound Phenomena in Electronic Music and Sound Arts – Towards a Share Perceptual Space (SPS)

Gerriet Krishna Sharma / Angela McArthur, IEM Graz / Queen Mary London This contribution is concerned with questions whether the aesthetics of spatialized electronic music of today take into account the perception of the audience at all and how to find terms that could be helpful for composition and analysis of spatialized sound. We are …

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The Atmospherics

Trond Lossius & Jeremy Welsh, Independent Artist / Trondheim Academy of Fine Art, Norwegian University of Science and Technology The Atmospherics (River Deep, Mountain High) is an ongoing collaborative project by Trond Lossius and Jeremy Welsh. The project researches notions of “place” explored through field recording in sound and video that capture unique qualities from …

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The importance of sensuality in electroacoustic music: A presentation of my work as a Composer

Véro Marengère, Université de Montréal The sonic contact is a sonic touch or a proximity touch. It can be perceived as a light brush. Touch can be heard in the sound as it carries a sensory quality. Through its intrusive and invisible nature, the sound hoists a sensual, sexual and even healing power. While sensuality …

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The Video Game as a Sound Interface: Towards new instrumental gestures?

Hervé Zénouda, Toulon University (France) This proposition aims to shed light on an emerging creative field the “audio games”: a crossroad between video games and musical composition aided by computer. Today, a plethora of small applications, which propose entertaining audio-visual experiences with a preponderant sound dimension are available for game consoles, computers, and mobile phones. …

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The creation of The Angst of the String (The Glass String)

Dr Brigid Burke, Independent Artist Chamber Music/instrument building/audio/visual performance is becoming a new field of creative practice and performance. It’s fuelled by the imagery of three dimensional art spaces in contemporary performance culture and is increasingly acceptable and engaging with old art forms and new technologies combined with live digital audio and imagery projection. In …

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Hyperobjectivity in the Art of Lumia by Thomas Wilfred [b.1889 d.1968]

Trent Kim, University of the West of Scotland Lumia is an early-mid 20th century art form pioneered by a Danish born American artist, Thomas Wilfred. As an early example of new media art, Wilfred developed this unique art form through technological innovation (a series of Lumia devices named ‘Clavilux’) and various aesthetic experimentations inspired by …

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Full Programme Released for SOUND/IMAGE19

We’re excited to release our full programme for this weekend. And exciting array of talks, performances, concerts, screenings and installations. Book your place via Eventbrite. CLICK HERE TO DOWNLOAD THE PROGRAMME

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Virtual Futures

Allegra Shorto, Khora Contemporary Immersive technologies are changing the nature of what an artwork is and how it is valued. Technological developments are beginning to blue the boundaries between virtual and physical space. Amidst this shifting landscape Khora Contemporary is rethinking the value of an artwork in a market that seems to increasingly value experience …

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Hearing, Sight and a Host of Other Senses

Aki Pasoulas, University of Kent This paper explores a compositional method based on the interpretation of information received through all senses as gestural and textural activity in the aural domain; it attempts to map our experiences from a number of systems (visual, gustatory, olfactory and haptic environments) to another (aural space). The paper starts from …

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Immersive Point-of-Audition: Alfonso Cuarón’s Three-Dimensional Sound Design Approach

René Idrovo, University of York Technological advances have always had an impact on the development of new audio-visual aesthetics. Recently, exploiting the spatial capabilities of immersive sound technology in the form of Dolby Atmos, Alfonso Cuarón introduced in Gravity (2013) an innovative sound design approach that enhances the illusion of ‘presence’ in the space of …

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Embodied Cognition and the Soundtrack’s Spatiotemporal Contract

Adam Melvin and Brian Bridges Cinema’s audiovisual language is often treated in terms of distinct planes of image and sound, with the soundtrack itself comprising multiple modes ranging from established musical structures to more extensively textural sound design, much of which may serve affective framing functions rather than conforming to a simple diegetic/non–diegetic dichotomy. Some …

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Terry Flaxton

SOUND/IMAGE19 – Special Guest Artist’s Statement “I only know how to make art – everything else fits around that imperative and is drawn in: from drawing, to making music, to understanding technology, to cooking, to walking, to talking, to alliterating. And yet everything else has an imperative within it and this too affects the idea …

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SOUND/IMAGE19 Special Guests Announced!

We are delighted to announced the very special guests who will be joining us for SOUND/IMAGE19. Annette Vande Gorne Annette Vande Gorne can be heard in concert (more than 500) in many European countries, as well as Canada, China and South America, presenting repertory works of acousmatics in addition to her own works, usually on …

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