Professor Angus Carlyle
Title
Professor of Sound Arts Practice/Sound Landscape
College
London College of Communication
Email address
Tags
Researcher Research
Biography
Angus Carlyle is Professor of Sound and Landscape at UAL and a member of the research centre CRiSAP. He studied law as an undergraduate, completed a masters in political theory and a doctorate on the conditions of vocalised political exchange. He subsequent theoretical engagements were with cyberculture, photography and architecture before developing his long-standing pre-occupation with environments, their inhabitations and representations.His creative work shifts between a documentary impulse and a more poetic register, deploys experimental writing and compositions based on field recording, often in collaboration with others.
Air Pressure (2011 – 2013) was a collaboration with anthropologist Rupert Cox, as was Zawawa (2011 – 2020). Both projects address auditory lives under civilian and military flight paths in situations where the echoes of history are palpable. With Cox, he co-created films, installations and compositions alongside scholarly and diaristic texts, such as those combined in the forthcoming Archive Books publication (2021).
Angus has published three books with Professor Cathy Lane: On Listening (2013), In The Field (2013) and Sound Arts Now (2021).
In the past Angus has taught "History of Political Thought" and "Modern Political Theory" and on courses in Journalism, Multimedia and Media and Cultural Studies. His focus since 2005 has been creating and delivering undergraduate courses in sound arts such as “The Politics of Noise,” “Hearing the City in Sound,” “Public Hearing,” “The Wild Sound.” He has supervised more than 50 dissertations and many major projects. He teaches on the MA Sound Arts, delivering courses on “Aural Diversities,” “Auditory Surveillance,” “The Synthetic Wild,” and workshops on “Soundmapping” and “Soundwalking”. He has supervised 21 PhD students to successful completion.
Grants and awards
(Figures indicate amount awarded to UAL)
- Research Council of Norway, Arctic Auditories – Hydrospheres in the High North, £40,867.00, (2021-2024)
- Engineering and Physical Sciences Research Council, The Positive Soundscape Project: A re-evaluation of environmental sound
Research Outputs
Art/Design item
- Carlyle A, Cox R, Hiramatsu K, Nishimura A. Zawawa: The Sound of Sugar Cane in the Wind (2020)
- Wright MP, Carlyle A. Decoys (2018)
- Carlyle A. A Crossing Bell (2016)
- Carlyle A. In the Shadow of the Silent Mountain (2016)
- Carlyle A, Cox R. A farm in Toho: soundfilm (2011)
- Carlyle A. Noli me tangere (2011)
- Carlyle A. Air Pressure Blog (2010)
- Carlyle A. Some Memories of Bamboo (2009)
- Carlyle A. 51° 32 ' 6.954” N / 0° 00 ' 47.0808” W (2008)
- Carlyle A. Autumn leaves : field recording and soundscape compilation (2007)
Article
- Carlyle A, Wright MP. Dissonant Dopplegangers: Performing the Post-Natural Through Modulated Foley Techniques (2021)
- Wynne J, Xyrichis A, Carlyle A, Rafferty AM, Mackrill J. Noise pollution in hospitals (2018)
Book
- Lane C, Carlyle A. Sound Arts Now (2021)
- Carlyle A. Night Blooms (2020)
- Lane C, Carlyle A. In the Field: The Art of Field Recording (2013)
- Carlyle A, Lane C. On listening (2011)
- Carlyle A. Autumn leaves : sound and the environment in artistic practice (2007)
Book Section
- Carlyle A. And Listened To The Whistlings and Patterings Outside: Hearing The Wild As Sound (2021)
- Carlyle A. Dropping Down Low: Online Soundmaps, Critique, Genealogies, Alternatives (2020)
- Carlyle A. "Memories of Memories of Memories of Memories: Remembering and Recording on the Silent Mountain" (2017)
- Carlyle A, Cox R. "The Cave Mouth: Listening To Sound and Voice in Okinawan War Memory" (2017)
- Carlyle A. "Radio Not" (2016)
- Carlyle A, Lane C, Nash P. Listening To Self and Other (2015)
- Carlyle A. Becoming Second Nature: Dan Holdsworth and the Sublime (2005)
- Carlyle A. I See A Darkness (2002)
Conference, Symposium or Workshop item
- Carlyle A. Animal, vegetable, mineral (2011)
- Carlyle A. Sounding Ethics (2011)
- Carlyle A. “Soft Shadows and Bright Light: On Recording and Reality” (2010)
- Carlyle A. Sound Escapes Presentation (2010)
- Carlyle A. Like Quails Clucking: Landscape, Soundscape and a Noisy Future? (2006)
Other
- Lane C, Carlyle A, Ingleton H. Sound::Gender::Feminism::Activism (SGFA) (2016)
Show/Exhibition
- Carlyle A, Cox R. Air pressure (2011)
- Carlyle A, Revell I. Sound Escapes (2009)
Teaching
Current research students
- Daniel Beck, The Postatomic Ear: A practice-based study of sound and atmospheric effects in the Nuclear Age. (Lead supervisor)
- Katherine Carr, Sound as a means of re-imagining contested sites (Joint supervisor)
- Katherine MacBride, Empathic Listening/Radical Listening: learning from feminist and decolonial contemporary arts practices through artistic research. (Lead supervisor)
- Robyn MacLennan, Can Ecogothic Theory Explain and Improve Our Relationship With Nature Through Art? (Lead supervisor)
Past 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. (Joint supervisor)
- Kate Fahey, Conversations with Operational Images (Joint supervisor)
- Iris Garrelfs, From inputs to outputs: an Investigation of Process in Sound Art Practice. (Joint supervisor)
- Jonathan Gilmurray, Ecoacoustics: Ecology and Environmentalism in Contemporary Music and Sound Art. (Lead supervisor)
- Magz 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. (Joint supervisor)
- Jackson Mark, Nothing Short of Complete Liberation: the Burroughsian Ideal of Space as Curatorial Strategy in Audial Art. (Joint 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. (Joint 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. (Joint supervisor)
- Mark Wright, Contact Zones and Elsewhere Fields: The Poetics and Politics of Environmental Sound Arts. (Joint supervisor)
Subjects
Animation, interactive, film and sound
Fine art