MA Sound Arts is an intensive, specialised course which gives students the chance to develop their conceptual and contextual understanding of sound arts in practice and theory, while tapping into the Creative Research into Sound Arts Practice (CRiSAP) research centre. Each of the twelve students on the course has developed their own individual approach and built a distinctive portfolio – so what can we expect to see at Hackney’s Angus-Hughes Gallery this year?
Gilda Manfring’s ‘Small pieces loosely joined’ is a journey of research and investigation resulting in a body of experimental scores and sound compositions. The work is collected in a self-published book and CD and partially presented in the wall of the gallery, and unfolds as a collection of accidental discoveries rather than the execution of an idea.
Gilda’s practice is based in experimental electronic composition, using and re-using sounds mainly found in invisible places like the internet or her mind, with improvisation and spontaneity at the core of her process.
This sound and visual piece draws inspiration from contemporary dancers and pop lyrics written about sexual adoration from a woman to a man, and how this kind of adoration is much less prominent when it comes to men in pop music who identify as gay. Dan Helgi sets out to critique the heteronormative world of pop by exploring gender-norms as well as making a critique of ourselves as judges.
Jamie has spent most of his spare time in the West End this year and is passionate about its theatres and their work.
Following this will be an evening of performance, including works by Tian Bai, Rebecca E Davies (with Holly Jarvis), Gary Fisher and Emre Yagc?. We asked exhibiting sound artist and Co-Director of CRiSAP (Creative Research into Sound Arts Practice) Angus Carlyle to tell us more about his work. The Cave Mouth and The Giant Voice is a collaboration between myself and the anthropologist Rupert Cox. It was here that Yogi-San sheltered from the US naval bombardment and it was here where he took us to tell his story.


That story is relayed in projected subtitles and by a composition of environmental sounds that connects the cave and Yogi’s memories of its past to the present day and the audible American military presence.
In a sense, The Cave Mouth is a sketch for a sequel to our previous project called Air Pressure. Air Pressure focused on an organic small-holding that is now almost engulfed by the architecture of Narita Airport near Tokyo but remains home to the last farming family of the many who settled in the area in the aftermath of WWII and created rich arable land out of what once was forest. Among other things, Rupert and I are interested in how lives can be lived in intense environmental circumstances, how the present might be connected to the past and how sound can make these complex realities audible. Among the various words I’ve heard used to describe The Cave Mouth have been “heavy”, “disturbing”, “harsh”, “delicate”, “meditative” and, dismayingly, “interesting”. Quite a number of people have commented on how the work recreates the atmosphere of the dripping cave and our walk across the lagoon with some night fishermen. Others have talked about the pace and rhythm of the subtitles or have spoken of how the sounds within the installation blur and blend with the noises bleeding in from outside. Rupert is currently writing a book for Bloomsbury Press – The Sound of the Sky Being Torn – which is an historical ethnography of military aircraft noise.
I am completing various parts of a long-term project based on the Picentini mountain range in Southern Italy, with an album of environmental sound recordings and several texts to be published in the summer. Over the next two years we will both be collaborating on a new soundfilm that explores more of the island of Okinawa, working with the acoustic scientist Kozo Hiramatsu and the media artist Atsushi Nishimura. Having said that, the very scale of Staging Disorder, how it has been curated and designed, how it shifts between different media, and how it inhabits the College, makes it a particularly powerful presence. Vesta Silva is an Associate Professor of Communication Arts.  She received her PhD in Communication Studies with a focus on Rhetoric and Cultural Studies from the University of Iowa in 2004.


Visit our special Bicentennial Celebration website to learn more about Allegheny's past, present, and future — including historical trivia & photos, upcoming events celebrations, speakers, and much more! The national liberal arts college where 2,100 students with unusual combinations of interests, skills and talents excel. In creating this piece he gave his emotional responses to this part of London a shape, and transformed them into sound, expressing feelings that could not be articulated in speech.
The symposium will focus on the place of research in creative practice, with talks from sound artists Lisa Busby and Mark Peter Wright, as well as contributions from the students and Course Leader Salome Voegelin, chaired by the exhibition’s curator Irene Revell.
He attended Pratt Institute and presently teaches at The School of Visual Arts in New York.
Installed in a dark space beneath the bridge across the Well Gallery, the work centres on a cave under the town of Sunabe, on the island of Okinawa. Even outside the degree show season there is always work to listen to and to see; and this is not just in the main gallery spaces but also in PARC, in the library and in the screenings organised by the Documentary Research Forum. The phrases that are on the tip of my tongue are things our students already know well in their hearts and demonstrate in their practice.
Assael balances naturalism with a romanticism that permeates the figures and surroundings of his paintings and drawings.
The focus of his work is the human figure, either individually or in a group, rendered in glowing relief by gentle beams of warm and cool light.



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