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Professor Angus Carlyle

Title
Professor of Sound Arts Practice/Sound Landscape
College
London College of Communication
Email address
Tags
Researcher Research
Angus  Carlyle

Biography

Over the last ten years, my work has been animated by a curiosity about our relationships with the environment around us. Initially exploring architecture and photography as processes that made those relationships concrete, more recently I have explored how sound can be both a significant part of the environment and a creative way of addressing how we perceive that environment.

My contribution to the Sound Proof group show at the E:vent gallery responded to the Lower Lea Valley in sound, text and graphics while my CD/booklet "Some Memories of Bamboo" focused its attention on a small parcel of land in the Kami-Katsura district of Kyoto in Japan. I co-curated the exhibition Sound Escapes at Space during July and August 2009.

I am currently developing a collaborative project that adopts a similar response to site with scientists and anthropologists, this time focusing on the contested space around Narita airport in Japan.

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

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)