Tuning#2: Sounds of the Stars

The Extra-Sonic Practice research group are pleased to host the next event in our ‘Tuning’ Series 

Tuning#2: Sounds of the Stars: Approaches to Stardom, Genre and National Identity via Accent, Diction and Voice Performance. 

Thursday 16th May, 4pm, ATB3116.  

A roundtable/workshop with Georgia Brown (Queen Mary University of London, ‘Vivien Leigh’s Star Image and Vocal Performances’), Anna Martonfi (University of East Anglia, ‘Miklós Galla’s Voice Performance and Transnational Comedy’) and Gábor Gergely (University of Lincoln, ’Schwarzenegger, Accent and Belonging’).

All welcome! 

ESP events series: Tuning

Over the next few months, the Extra Sonic Practice research group will be hosting a series of events around the cross-disciplinary theme ‘Tuning’. Thinking and doing with ‘Tuning’ will take us from accents to autotune, eavesdropping to organs. Our first event will feature a performance talk and workshop by artist and lecturer Rebecca Collins at 4pm on Wednesday 10th April 2019. All welcome!

Necessary Note is the title of a sonic detective novel written by Rebecca Collins and Johanna Linsley (forthcoming Copy Press, 2019). Working as Stolen Voices, Collins and Linsley have been engaged in an extended eavesdropping practice along the coast of the UK since 2014.

A core motivation for this listening process is a semi-fictional story we tell ourselves (and anyone else who is listening): some ‘event’ has taken place and we have been tasked with the job of figuring out what that is. We currently conceive of this as a methodology of sonic detection which uses techniques of extraction and abstraction to undertake a deep investigation of place. This process is informed by an extended ‘on the ground’ consultation with specific geographical locations along the east coast of the UK and further explored through key literary, socio-political readings. The urgency of the investigation is fuelled by concrete concerns found in heightened forms at the border/margin of the country: the uncertain future of the UK’s relationship to Europe; the effects of climate change on coastal landscapes; the waning of industries like manufacturing and coal extraction; the development of globalised logistics. By using a semi-fictional framework, we move away from mapping techniques like data sonification and towards a methodology that embraces gaps and inventive excesses. Unfolding over a number of years, in response to what we hear, the investigation proceeds slowly, in the opened up and hollowed out spaces of ‘sonorous time’ (Jean-Luc Nancy, 2007).

Part performance, part methodological exposition, for the extra sonic practice research group at the University of Lincoln Rebecca invites you to listen in on a sequence of eavesdropped extracts from the coast of the UK and will share extracts from the forthcoming publication. This will be followed by a series of eavesdropping exercises that have informed the development of this investigation.

Bio 

Rebecca Collins is an artist researcher working at the intersection between contemporary performance and sound. Her practice, grounded in specific sites or communities, investigates the relationships between social, political and cultural phenomena. Rebecca is a lecturer in contemporary art theory at Edinburgh College of Art, University of Edinburgh.

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.

http://www.ysp.co.uk

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