Sound art at Yorkshire Sculpture Park

The day after Storm Doris hit the UK Extra Sonic Practice members Emily and Marie made a surprisingly calm trip to Yorkshire Sculpture Park to visit James Webb’s sound installations. The visit was organised for students on the Practices of Listening module at the University of Lincoln and for many this was their first encounter with sound installations.

Webb’s work was installed in three locations in the park: a woodland area, a chapel and the chapel grounds. The most striking of his four pieces was Untitled (with the sound of its own making) (2016): a huge installation of ominous speakers inside the chapel. The rhythmic drumming emanating from the wall of loudspeakers filled the space with the suggestion of hands beating to make their presence known. Elsewhere his work was subtly installed, so much so that we were unable to locate We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far (2012), which featured jackal calls in the woodland, though I was told by a gallery assistant that one of the grounds keepers had spent two days trying to find this mysterious invisible animal. James Webb’s exhibition at YSP has now finished but he will return to the park as artist-in-residence in 2018.

Other surprise finds in the park included Caroline Locke’s The Frequency of Trees (2012) a series of 14 tuning forks tuned to the frequency of different trees within the park, and Greyworld’s Playground (1999) an installation in the remains of a Victorian birdcage where movements trigger musical sounds.

Yorkshire Sculpture Park is free, open year round (come rain or shine), and well worth a trip.

Barbara Hepworth, The Family of Man (1970) Students read about Greyworld's interactive sound installation Caroline Locke, The Frequency of Trees (2012) James Webb, Untitled (with the sound of its own making (2016) James Webb, Untitled (with the sound of its own making (2016) James Webb, All that is Unknown (2016) James Turrell, Deer Shelter Skyspace (2007) Students survey the park

Extra-sonic practice @ Sonophilia Festival

We are delighted to be hosting two events as part of this year’s Sonophilia festival. On Tuesday 4th October we will be holding ESP#2: A evening of extra-sonic performances; and on Wednesday 5th October, we will be hosting a research seminar on Sound, Space and Listening. More information about these events can be found below, on the ESP Facebook page or on the Sonophilia website




ESP #2: An evening of extra-sonic performances

Tuesday 4th October, St Mary Le Wigford Church, Lincoln, 7.00-9.30pm.


Rebecca Lee with Samuel Rodgers –  a delicate live performance with flute and electronics.

Emily Wilczek presents ‘Ear Gongs’ – audience interactive sounding of the church

Linda Kemp and Marie Thompson – live improvisation

Gruinard Ensemble – live improvisation & drone.


Extra-sonic practice research group presents:

Sound, Space and Listening: with Louise K Wilson (Leeds), Rebecca Lee (Nottingham) and Samuel Rodgers (Birmingham)

Lincoln School of Film and Media Research Seminar, Wednesday 5th October

MC3107, MHT Building, University of Lincoln, 1.00pm-3.00pm

Please note that the research seminar is free to attend but places are limited. You can register for the seminar here 

Louise K Wilson

Listening to the background

Louise’s work often incorporates field recordings to ask questions about the spatio-temporal physicality of institutional sites and our perceptions of them. She has previously travelled to numerous (military and scientific) locations including nuclear submarines, US listening stations, university halls, marine research environments, rocket launch sites and disused RAF bases in pursuit of the acoustics of these complex spaces. More recent work however uses ‘found sound’ such as cinema soundtracks and a personal archive of recorded interviews (made from the age of eleven onwards) to explore our relationship with the recorded past and the voice. She will be reflecting on how audio recording devices used to frame and mediate the world, also subject it to the affective power of memory and sensation.

Louise K Wilson is a visual artist whose work frequently involves the participation of individuals from industry, museums, medicine and the scientific community in its making.  Recent exhibitions include Submerged: Silent Service (Ohrenoch, Berlin, 2015); Duet for One: Intangible Culture (Ohrenhoch, Berlin, 2014); Dukes Wood, Nottingham (2013); Topophobia (Danielle Arnaud Gallery, London; Bluecoat Gallery, Liverpool and Spacex Gallery, Exeter, 2012. She is a lecturer in Art and Design at the University of Leeds. For further information:


Rebecca Lee and Samuel Rodgers

If the bell rings, we will hear it

If the bell rings, we will hear it is a project that explores the reciprocity between materials, space and environment in live improvised performance. Through a series of performances and residencies, Rebecca and Samuel will develop a new body of work that focuses on the performer, their materials, the space, environment, and audience as listening, seeking to allow synchronicities between these elements to emerge through an intuitive approach to performance. Their performance at ESP #2 marks the start of the project, so here, they share some of the approaches and ideas guiding their work; how they differentiate their approach from other improvised music; and their interest in the sonic language that emerges through nurturing such an approach to listening.

Rebecca Lee and Samuel Rodgers have been working together since 2013 when they performed a number of scores by Jack Harris as part of his residency at Primary in Nottingham. In 2014 they performed a new work at Rammel Club in Nottingham, later performing this work as part of Oxford Improvisers’ programme. Since that time they have been developing their improvisatory practice for prepared flute and piano, as well as a more expansive performance practice that explores relations between materials, touch, movement, space, and listening.