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Professor Angus Carlyle

Title
Professor of Sound Arts Practice/Sound Landscape
College
London College of Communication
Email address
a.carlyle@lcc.arts.ac.uk
Tags
Researcher Research
Angus Carlyle

Biography

Angus Carlyle has an educational background within the humanities, studying law as an undergraduate, earning a masters in political theory, focusing his doctorate on the conditions of vocalised political exchange.

His subsequent theoretical trajectories engaged with cyberculture, photography and architecture then shifted towards its current pre-occupation with the sensory inhabitations of environments and their representations, with a particular emphasis on sound. A significant dimension of this exploration has been conducted through such creative practices as experimental textual production and field recording, with the texts and recordings contributing to collaborative and solitary projects.

For over a decade, he has worked with anthropologist Rupert Cox, co-creating films, installations and compositions – alongside academic texts - that seek to address the sonic experiences of living under civilian and military flight paths in situations where the echoes of history are palpable.

Grants and awards

(Figures indicate amount awarded to UAL)

  • Engineering and Physical Sciences Research Council, The Positive Soundscape Project: A re-evaluation of environmental sound

Research Outputs

Art/Design item

Article

Book

Conference, Symposium or Workshop item

Other

Show/Exhibition

Teaching

Current research students

  • Jennifer Allan, Fog Tropes: A cultural and social history of the foghorn, 1853 to the present day. (Lead supervisor)
  • Russell Bestley, "If You're Going to Reminisce, Then You Need to Do It Properly": Punk Rock and Graphic Design in the Faraway Towns, 1977-1984. (Lead supervisor)
  • John Boursnell, The Unsound Object and Intimate Space, Norwich University of the Arts. (Lead supervisor)
  • Iris Garrelfs, From inputs to outputs: an Investigation of Process in Sound Art Practice. (Lead supervisor)
  • Jonathan Gilmurray, Ecoacoustics: Ecology and Environmentalism in Contemporary Music and Sound Art. (Lead supervisor)
  • Margaret Hall, Radio after Radio: Redefining radio art in the light of new media technology through expanded practice. (Lead supervisor)
  • Hilary Kenna, A Practice-led Study of Design Principles for Screen Typography - with reference to the teachings of Emil Ruder. (Lead supervisor)
  • Jackson Mark, Nothing Short of Complete Liberation: the Burroughsian Ideal of Space as Curatorial Strategy in Audial Art. (Lead supervisor)
  • Robert Mullender, Silent Light, Luminous Noise - Photophonics, Machines and the Senses. (Lead supervisor)
  • Matthew Parker, Composing Digital Materiality: A Sonic Archive Practice. (Lead supervisor)
  • Simon Robinson, Archipelagos of Interstitial Ground: Investigating edgelands in the UK through photographic practice. (Lead supervisor)
  • Daniel Scott, The listening Artist: How can Multiple Listening Strategies inform Contemporary Sound Art Practice. (Lead supervisor)
  • Peter Sinclair, Using Real Time Data Flux in Art. The mediation of a situation as it unfolds: RoadMusic, an experimental case study. (Lead supervisor)
  • Timothy Smith, ‘Haptic Aurality and the Queering of Memory: Subversive Methods in Audiovisual Practice’ (Lead supervisor)
  • Tansy Spinks, Associating Places: Strategies for Live, Site Specific, Sound Art Performance. (Lead supervisor)
  • Axel Stockburger, The Rendered Arena: Modalities of Space in Video and Computer Games. (Lead supervisor)
  • Jonathan Taylor, Immersion: A dynamic digital environment for creative interaction with archival sound art material. (Lead supervisor)
  • Mark Wright, Contact Zones and Elsewhere Fields: The Poetics and Politics of Environmental Sound Arts. (Lead supervisor)