Notation for Sound Art involving live presence

Lead Research Organisation: Goldsmiths College
Department Name: Music

Abstract

Increasingly, artists from different disciplines, for example poets and musicians, are working together outside of traditional artistic relationships. Traditionally, for instance, a poet might write a libretto to instructions from a musician; and then take no further creative part in the work. This research investigates an aspect of what happens when the collaboration persists throughout the making of the work; and where one aspect of the work (e.g. a libretto) is subordinated to the overall musical piece.
Such changes in practice arise not just from social changes and new thought in modernist and postmodernist aesthetics, but from the possibilities afforded by developments in new media tools in use by artists.
Many of these tools may be used in ways for which traditional notational systems are inappropriate. And the same applies to methods of working, especially when a poet works on equal terms with painters and musicians in areas that are not, traditionally, the poet's.
Notations have been developed to deal with this on an ad hoc basis; but this research proposes to investigate and draw conclusions from a representative selection of such ad hoc notations.
For instance, do they actually work objectively for any artist who uses them? What limitations do they have? How may they be improved? How might they be standardized for the benefit of those who do not wish to develop their own system? In short, is it possible to establish a good practice in this area.
The Researcher will be the poet and sound artist and graphic artist, Lawrence Upton, who will build on his previous research into the notation of sound and visual poetry; the extension of the poem into dance; and the writing of collaborative performance pieces which cut across traditional artistic category boundaries
The research will be based in the Music Department of Goldsmith's college where there is already considerable interest and expertise in many of the areas concerned.
It is intended that, by the time the project has been completed in three years time, there will have been produced a number of new multi- & cross-media works, especially collaborative, their performance open to the public; a number of conference and seminar presentations & papers in academic journals; a published collection or collections of interviews with practitioners; online documentation and texts; and a CD with booklet of selected works.
The research will be conducted by observation and study of existing new works; by interview of a range of practitioners; and by testing conclusions and theories in practice by applying them to the composition and notation of new collaborative works.
Apart from Upton himself, a number of members of the Music Dept will be closely involved in aspects of the work; and Upton will be looking for collaborators in all aspects of his research in the college as a whole: this may include, Computing, Drama, Media and Communication, Visual Arts and Goldsmiths Digital Studios.

Publications

10 25 50
 
Title "ABC in Sound". 
Description This is not my work but that of the late Bob Cobbing. I, Jennifer Pike, and Benedict Taylor performed from it at an event arising from the exhibition "Variations on a theme of Bob" 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2011 
Impact I cannot take credit for Cobbing's work Responses to our performance were part of the evidence upon which we decided to continue working as a duo 
URL http://www.spacestudios.org.uk/exhibition-programme/bob-cobbing-the-sound-singing-is-off-the-wall/
 
Title "Agnes". 
Description A short studio text sound composition by Upton and Benedict Taylor (viola) Stereo Originally planned for a CD but superseded by later work NB There are several pieces in my repertoire of this or similar names 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2010 
Impact It has not been heard widely enough but was a valuable impact upon us -- it taught me greater precision in performance (cf e.g. to a live performance in Yorkshire in 2008 which had needed greater concision and precision) 
 
Title "Anagram GNOS". 
Description Live text sound composition ANAGRAM GNOS Page 12 by Richard Tipping and Lawrence Upton; Benedict Taylor, viola, & Lawrence Upton, voice presented at Vlak Launch, Birkbeck College, London 29 October 2010 6:30 p.m. ANAGRAM GNOS Page 6 by Richard Tipping and Lawrence Upton; Benedict Taylor, viola, & Lawrence Upton, voice presented at The Thursday Club, London 21 October 2010 6 p.m. ANAGRAM GNOS Page 4 by Richard Tipping and Lawrence Upton; Benedict Taylor, viola, & Lawrence Upton, voice presented at The Betsey Trotwood, London 9 October 2010 4 p.m. + as part of Writers Forum Workshop ANAGRAM GNOS Page 2 by Richard Tipping and Lawrence Upton; Benedict Taylor, viola, & Lawrence Upton, voice presented at The Betsey Trotwood, London 9 October 2010 4 p.m. + as part of Writers Forum Workshop 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2010 
Impact The experiment has not been followed up 
 
Title "Anagram GNOS". 
Description another duplicate, byproduct of copying? see entry already made 
Type Of Art Composition/Score 
Impact see above 
 
Title "Close to the Literal". 
Description Live text sound composition Close to the Literal; 20 mins.15 secs; 8 channels + graphic projections; text and images Lawrence Upton; sound recording, live treatment and spatial design John Drever; pre-recorded and live voice Lawrence Upton; October 2005, e-poetry 2005 London; performed again Goldsmiths College Notation Conference November 2005; performed again June 2006 Sonic Arts Network Expo, Manchester; performed again without live voice FILE Sao Paulo, Brazil in August 2006; projections screen exhibited, FILE, Sao Paulo, Brazil in August 2006; versioned as a 2-channel studio piece (April 2006) - presented SUNY Buffalo Sep 06;2-channel version extracts broadcast on Resonance FM 4 pm until 4.30 pm 4th May 2007 as part of an interview of Upton by William English; 2-channel version presented in its entirety, with projections University of Bedford at Luton 9th May 2007 as part of a Writing Seminar led by Upton; full 8-channel version presented live and in its entirety at Goldsmiths 14 November 2009 as part of Lawrence Upton at 60; 8-channel version but without graphical element and without live intervention presented at James Taylor Gallery London, on rotation with works by other artists 12-6pm, 4th-7th Nov 2010; 8-channel playback of Drever's sonic composition with Upton in the hall amongst the audience responding, his voice unamplified and untreated at Unsettling Scores at St James Hatcham 26 September 2012 
Type Of Art Performance (Music, Dance, Drama, etc) 
Impact Considerable. The London committee of e-poetry had been on refusing me a place at e-poetry 2005, though without having heard me perform such work. That was overruled by SUNY and after the performance we (John Drever and I) have received invitations to all subsequent e-poetries, headlining in 2011. After the London premier (at bbk) it was invited to Goldsmiths and I was invited to research the genre. It remains our most complicated piece with 120 hand-painted or drawn images It remains unpublished as a work because it was made straight into 8n channel and is too dense for 4 channel and 2 channel versioning, a mistale we learned from. It is hoped that the slide show can be published in the not too distant future It remains a major work from my point of view and still posits m ajor questions 
 
Title "Countless Writings". 
Description I can only assume that this is a phrase taken out of context. While, over the the years, I have dropped some pieces, I have no recollection of ever using such a title as a title. I will end a date to make the page saveable 
Type Of Art Creative Writing 
Impact see above 
 
Title "Curator of Bob Cobbing Exhibition". 
Description This is an apparent duplication of an entry for Variations on a theme of Bob already updated - I assume it arose from a cross reference 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2011 
Impact see above 
 
Title "Engine/House". 
Description See also entry on work with Guy Begbie This was an early work we computed, a poem as a book in the shape of a west cornish mine, or part of one It was editioned and collected For us, I believe it's significance was in the skills learned and the ideas it showed, rather than the final work as a work of art; but Guy might think differently 
Type Of Art Composition/Score 
Year Produced 2010 
Impact exhibition article 
URL http://www.poetrybeyondtext.org/begbie-upton.html
 
Title "Foreshore". 
Description This appears to be a duplicate of the references to Foreshore and Foreshore 35 already made. Variations are likely to be small ot to be small in the telling of their significance unless one is writing at considerable length 
Type Of Art Composition/Score 
Year Produced 2010 
Impact See general response to the entire collaboration already documented 
 
Title "Foreshore". 
Description This was the first book I made with Guy Begbie. This entry, as it has been entered into this database, duplicates the general reference to work with Begbie already updated 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2010 
Impact as for engine / house 
URL http://www.poetrybeyondtext.org/begbie-upton.html
 
Title "Hypothetical". 
Description Live text sound composition; (8 channel); 15 minutes approx; text, live voice and projections Lawrence Upton; live shakuhachi Mike McInerney; studio treatment of and composition with recorded voice and recorded shakuhachi, and live treatment of voice and sound John Drever; presented at Goldsmiths 14 November 2009 as part of Lawrence Upton at 60 
Type Of Art Composition/Score 
Year Produced 2009 
Impact well-received but quickly judged by myself and Professor drever to be a distraction from what might be thought our best course. I have not followed it up but am grateful to have tried the ambitious experiment 
 
Title "Lawrence Upton at 60". 
Description An evening of performances of works by Lawrence Upton in the Great Hall, Goldsmiths 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2009 
Impact It had considerable impact - words of mouth largely, in drawing attention to my work and my work with collaborators 
 
Title "Let's murder the moonlight". 
Description a quote from the futurists used by Goldsmith's Drama Dept to celebrate the centenary of the Futurist Manifesto I performed Stein (at my request, because she seems to be an interesting comparator) and Pound (at theirs) 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2009 
Impact It atracted some hundreds of audience It led to an ongoing discussion between myself and the Drama Dept It led to my writing a chapter of Prof London's forthcoming book I add here a second url for you because your code appears not to be sophisiticated enough to accept two urls, falsely declaring both collectively invalid No, that doesn't work. Here they both are. A google search for me + "let's murder the moonlight" will find them https://www.youtube.com/watch?v=HHS1me2RsKc https://www.youtube.com/watch?v=iZXhom0-19A 
 
Title "NAMELY for Peter Manson (Channel 4)". 
Description Not Channel 4, 4 channel 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2010 
Impact NAMELY for Peter Manson (4 channel); 21 minutes approx; text, pre-recorded voice, projections and live voice Lawrence Upton; studio treatment of and composition with recorded voice, and live treatment of voice and sound and spatialisation John Drever; presented at BEYOND SIGNAL #8 PO-E-TRY FESTAL, Nantes, France on Friday 26th February 2010. 
URL http://soundsrite.uws.edu.au/soundsRiteContent/volume4/DreverUptonInfo.html
 
Title "NAMELY for Peter Manson (Quicktime movie)". 
Description see other entry 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2012 
Impact NAMELY for Peter Manson (Quicktime movie); 21 minutes approx (sound from Nantes performance 2010); 2011; Presented "continuous play" at SHIZENGAKU - The Museum of Modern Art, Shiga, Japan in September 2012. Curated by Suiji Okada; published soundsRite Volume 4 ; ed Roger Dean et al) NAMELY for Peter Manson (Quicktime movie); 21 minutes 30 seconds; Goldsmiths EMS using studio recordings; Friday 5th March 2010. Presented Writers Forum Workshop Saturday 13th March 2010. Presented "continuous play" at post_moot convocation 2010, Oxford, Ohio from Thursday, April 22 2010 until Sunday, April 25 2010. Published in the magazine Emerging Language Practices 1 in 2010. Shown in Notation and Interpretation at ICA. 16th to 20th February 2011. 
URL http://soundsrite.uws.edu.au/soundsRiteContent/volume4/DreverUptonInfo.html
 
Title "NAMELY for Peter Manson (Stereo)". 
Description stereo version of work already listed 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2009 
Impact NAMELY for Peter Manson (stereo); studio version; 21 minutes approx; text, voice and projections Lawrence Upton; studio treatment of and composition with recorded voice John Drever; without live intervention by Upton or Drever, presented at ICA London 17 August 2009; and again at Laban 5th November 2009 
URL http://soundsrite.uws.edu.au/soundsRiteContent/volume4/DreverUptonInfo.html
 
Title "Namely for Peter Manson". 
Description Version of a piece already listed 
Type Of Art Composition/Score 
Year Produced 2009 
Impact NAMELY for Peter Manson (8 channel); new studio version; 21 minutes approx; text, voice and projections Lawrence Upton; studio and live treatment of and composition with recorded voice John Drever; without live intervention by Upton, presented at Goldsmiths 14 November 2009 as part of Lawrence Upton at 60 
 
Title "Namely" 
Description Namely is the title of an exemplary poem published in WORD SCORE UTTERANCE CHOREOGRAPHY in 1998 which I co-edited Since then it has been applied to individuals e.g. "NAMING for Peter Manson". At some point I may review the whole set, but not before I have finished it. The term originates for me in the book of Genesis where Adam names the animals, as I described in my 2005 talk at Goldsmiths Writing "Close to the Literal" 
Type Of Art Composition/Score 
Impact As a part of WORD SCORE UTTERANCE CHOREOEGPAHY it has had considerable impact and that is on going. A student member of my Writers Forum Workshop cited it in her thesis this year; and the book is still on sale (It has been listed widely as out of print but that is not so. 
 
Title "Naming for Jennifer". 
Description Live text-sound composition NAMING for Jennifer; score by Lawrence Upton; 10' 4" (unedited) 7' 20"; videoed on 10 July 2010 by Jeff Hilson at Writers Forum Workshop. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2010 
Impact Seemingly significant upon large audience 
URL http://www.openned.com/writers-forum-jennifer/lawrence-upton-and-benedict-taylor.html
 
Title "Naming for Jennifer". 
Description duplicate - see entry already made 
Type Of Art Composition/Score 
Year Produced 2011 
Impact see above 
 
Title "Naming for Ricki Redhead". 
Description see "That the tongue is a whip" 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2008 
Impact see "That the tongue is a whip" 
 
Title "Possibles". 
Description It is difficult to know what to say now that the original context of its listing has been removed; but "Possibles" is a semantic sound text which has existed in many forms; and was finally realised in 2014 by Benedict Taylor (viola) and Lawrence Upton (voice) at SuperNormal 2014 in Oxfordshire An earlier 2008 proposal which may have been how I listed it was not taken up 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2014 
Impact Writers Forum is scheduled, 2017, to publish the text / score Cram Records is considering a CD 
 
Title "Santa Warna Duet". 
Description A short studio text sound composition by Upton and Benedict Taylor (viola) performed from Upton's score at a WF workshop 
Type Of Art Composition/Score 
Year Produced 2011 
Impact A short studio text sound composition by Upton and Benedict Taylor (viola) Stereo 
 
Title "Santa Warna Duet". 
Description duplicate - see entry already made 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2011 
Impact duplicate - see entry already made 
 
Title "Song Signals". 
Description Song Signals is a book by the late Bob Cobbing. I displayed originals in my exhibition of Cobbing in 2011 and have occasionally used Cobbing's term adjectivally; but I do not claim the work Perhaps a reference has been separated from context in database transfer: that seems to have happened quite a lot here Benedict Taylor and I have performed them at WF workshops occasionally.... 
Type Of Art Performance (Music, Dance, Drama, etc) 
Impact see above 
 
Title "Sound singing Carlo Carra". 
Description I have just added something because it will not let me enter a correct description. It is a piece of critical writing to be included in One hundred years of Futurism: Aesthetic, Political and Performative Assessments ed by Professor John London (Britsol: Intellect). The whole book awaits publication still but that is out of my control. I have dated it 2016 but I cannot yet know 
Type Of Art Creative Writing 
Year Produced 2016 
Impact Few have seen it yet 
 
Title "Speculative Scores". 
Description :Live text sound composition 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2011 
Impact Speculative Scores (4 channel); 18 minutes approx; live and prerecorded voice + graphic score and projection Lawrence Upton; studio recording, prerecorded sound treatment and composition John Drever; live spatialisation John Drever; as part of Speculative Scores concert of Upton's sound works at Goldsmith, University of London, on Friday 4 May 2012. Speculative Scores (4 channel); 18 minutes approx; live and prerecorded voice + graphic score and projection Lawrence Upton; studio recording, prerecorded sound treatment and composition John Drever; live spatialisation John Drever; premiered at e-poetry 2011 in Black Box Theatre, SUNY Buffalo on 21 May 2011. A video of the event is available at Emerging Language Practices # 2 
URL https://vimeo.com/33513079
 
Title "Speculative Scores". 
Description yet another duplicate please see entry already made 
Type Of Art Composition/Score 
Impact see above 
 
Title "Speech". 
Description Speech is a generic title for a large set of multivoice pieces which were published by Writers Forum in 2007, 4 volumes, and now removed from publication 
Type Of Art Composition/Score 
Impact Many have never been performed. Realisation here is meant to imply writing. Those that have been performed have generally been quite influential on practitioners. (Hearsay) They have served their purpose, especially during the years of my fellowship. My main co-worker in this case was Dr Tina Bass with whom I am now engaged on a new and longer work, building on what we learned. Commentary will also be included to some extent in various critical writings in preparation 
 
Title "Still". 
Description This appears to be a duplication I suspect that my reference to this film by William English and my work with it have been separated. See my comments already documented 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2009 
Impact see other entry 
 
Title "Study 19". 
Description Text sound composition 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2010 
Impact Study 19 often referred to as "chihuahua"; (8 channel); 12 minutes; live and prerecorded voice + graphic score and projection Lawrence Upton; studio recording, samples and prerecorded sound treatment and composition John Drever; live spatialisation John Drever; The Shunt Lounge, London ; evening of 11th June 2010 site specific; will not be repeated with the development of London Bridge station 
 
Title "Study 19". 
Description another duplicate, byproduct of copying? see entry already made 
Type Of Art Composition/Score 
Impact see above 
 
Title "That The Tongue is a Whip". 
Description see entry already made 
Type Of Art Composition/Score 
Year Produced 2009 
Impact see entry already made 
 
Title "The Dinosaurs". 
Description 15 May 2010 The Dinosaurs with inner_duo at Berlin Museum fur Naturkunde. Upton contributed pre-recorded voice 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2010 
Impact Probably little as I received little credit for my contribution - I was a session musician! 
 
Title "The tongue that is a whip (8-Channel version)". 
Description see "That the tongue is a whip" 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2008 
Impact see "that the tongue is a whip" 
 
Title "The tongue that is a whip (revised stereo version)". 
Description live text sound composition 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2008 
Impact The raw text of NAMING for Ricki Redhead has been web-published by Poetics Canada 8. This collaborative performance piece was later renamed "That the tongue is a whip." NAMING for Ricki Redhead [That the tongue is a whip] (first stereo version); 10 minutes approx.; text, pre-recorded voice, projections and live voice Lawrence Upton; treatment of recorded voice, additional sound sampling John Drever; The Shunt Lounge, London Bridge; 5th June 2008. That the tongue is a whip (transitional stereo version); 10 minutes approx.; text, pre-recorded voice and projections Lawrence Upton; studio treatment of and composition with recorded voice, additional sound sampling John Drever; presented as aural illustration to a solo talk on the collaboration series given by Upton to The Thursday Club on 9th October 2008 That the tongue is a whip (revised stereo version); 10 minutes approx.; text, pre-recorded voice, projections and live voice Lawrence Upton; studio treatment of and composition with recorded voice, additional sound sampling, and live treatment of voice and sound John Drever; presented at Laban on 6th November 2008 That the tongue is a whip (8-channel version); 10 minutes approx.; text, pre-recorded voice, projections and live voice Lawrence Upton; studio treatment of and composition with recorded voice, additional sound sampling, and live treatment of voice and sound John Drever; presented at Great Hall, Goldsmiths - Sound Practice Research Concert on 21st November 2008 
URL http://www.ottawater.com/poetics/poetics08/Naming-redhead.htm
 
Title "The tongue that is a whip". 
Description appears to be a duplication 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2008 
Impact see above 
 
Title "Untitled Installation". 
Description Out of context I cannot respond. I have put a date in order to be able to close the page. Fragments seem to have been taken from my report and presented here as separate works 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2009 
Impact I know of none! 
 
Title "VUST!". 
Description Vust!; score by Lawrence Upton; 4'36"; stereo; made at Goldsmiths; June 2011. Published in the anthology entitled Experiments and Intensities Vol 1 Cries from the Guts edited by Yvon Bonenfant, Will Edmondes & Micah Silver November. 2012 ISBN 978-1-906113-05-6 from Winchester University Press 
Type Of Art Composition/Score 
Year Produced 2012 
Impact Presumably quite an impact given the nature of the publication. The original "blurb" was a little condescending; but the rewrite shows some respect 
URL http://www.experimentsandintensities.com/published/vol-1/vust/
 
Title "Variations on a theme of Bob". 
Description Large exhibition at Space Studios dating from 1940s to near the end of the man's life. I did not arrange the work chronologically but to illustrate that, as I wrote, for Cobbing his poetry was painterly and his painting poetic. It also countered the frequent tendency which has been repeated since to concentrate on a few works near the beginning of his poetic career. (The exhibition at Bury some time later did not do that and showed enormous quantities but without critical apparatus or guidance) 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2011 
Impact I think that it had considerable impact. Many went to see it. Unfortunately it is yet difficult to see Cobbing plain as various factions dispute his legacy by assertion instead of appropriate illustration and example 
URL http://www.spacestudios.org.uk/exhibition-programme/some-variations-on-a-theme-of-bob/
 
Title "With Our Tongues". 
Description This is not my work but Bob Cobbing's. Some of it was performed by me and Benedict Taylor during my Cobbing exhibition; but that hardly makes it my work. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2011 
Impact We did it very well. Even Ms Pike, Cobbing's widow, said she doubted we would manage; but while it developed my abilities as performer it did not advance my skill as a maker of notation. 
 
Title Bob Cobbing - The Legacy, a film by Elisabetta Ferrero. 
Description A discussion by interview of the legacy of Cobbing (1920 - 2002) from whom I learned so much which was directly relevant to my research and study 
Type Of Art Film/Video/Animation 
Year Produced 2011 
Impact Generally great interest and debate in my hearing 
 
Title Bob Cobbing Exhibition Walk Round, a film made with Elisabetta Ferrero. 
Description What it says: a walk round the exhibition at Space Studios of the exhibition "Variations on a theme of Bob" 
Type Of Art Film/Video/Animation 
Year Produced 2011 
Impact It was apparently well enough received but came too late to attract many to the exhibition who were not otherwise going 
 
Title Bury The Dead 
Description A short studio text sound composition by Upton and Benedict Taylor (viola) Stereo Originally planned for a CD but superseded by later work 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2010 
Impact It has been circulated on a private basis but should be seen mainly as a work from which we learned how to extend our work with calligraphies 
 
Title C Catch alpha 
Description A short studio text sound composition by Upton and Benedict Taylor (viola) Stereo Originally planned for a CD but superseded by later work 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2010 
Impact A useful experiment and made available on request by electronic samisdat. Its impact was upon us, and we have moved on 
 
Title Film with Benedict Taylor Paul Pereira. 
Description This film was shown at Wysing Arts Centre but never published as far as is known to us 
Type Of Art Film/Video/Animation 
Year Produced 2011 
Impact I was told that it was well-received 
 
Title Film with William English. 
Description STILL was a silent film of 18 minutes by William English from 1991 who asked me to provide a sound track for it. 27 September 2009 The following notes were made after the event and wedre made available to you in 2011 Post STILL Not what I intended? expected? quieter, less showy, less physically gestural. [The possibility that I would do was based in what I had done before: see my essay Sound-singing Carlo Carrà [with editor] At no point did I stand up to perform. I sat in the same seat in the third row that I had occupied throughout the film show. I used a radio mike. I felt but did not really know or try to find out that the sound engineer would turn down the volume if I went "too loud" So I performed to a film made by another with sound controlled by another - some distance from my usual practice I had seen the film before but hadn't then paid so much attention to it and had long since forgotten it. Having heard William English speak of it during the day, I was perhaps more sympathetic too it than I had been - and that possible lack of sympathy had been my mistake Knowing from William that it could be said to fall into two halves was useful; but when the second half started it was hard for me to believe because it seemed to come too soon; and it was just as surprising when the end came There was the anticipated problem which might be summed up: my m.o. derives from treating inscription as linguistic whereas the film shows us "inscription" as pictorial. It can be a problem with vispo made for the purpose by others but accepted by me as "ok" - though I can't now think of any examples but I have found, I know, that oddities occur - it may be in performances by jgjgjg (as long as you can say it that's our name), many years back - there are severe perturbations where two modes of reading collide, inscription reading trying to continue into a period of simultaneous pictoriality Some of what I did today was, to some extent at least, by way of sound effects - some element of groans of effort as the man on the bed turned; groans of pleasure as he "sun"-bathed and relaxed on his bed But it was also commenting as opposition i.e. vs. the fact that my soundtrack was NOT a sound track but a kind of narration maybe Other sounds were less attributable and more what Bob Grumman may mean by "juxtaphor" Much that I did was not new; but I used frequently resorted to methods - materials, I might say - in ways that was new; and there was more space - silence - between my utterances than usual What I think was new was my use of my 1.5 litre spring water bottle and its label. I drummed it, tapped it, nail-scraped it. It was shaken. It was turned upside down, rapidly inverting it and its partly-absent contents to produce interesting sounds. The label was fretted and dragged at and generally interfered with and torn - a drawn out tearing because it was so heavily stuck to the bottle with adhesive. There was also the use of my t-shirt which, normally, would have been unavailable, a bit of loose cloth (I wear the largest I can get, XXXL, much too big for me, for comfort); but with a radio mike attached to it by a small built on bulldog clip. The adjacent fabric could be stretched drum tight and then released ortweaked and fretted, producing different drumlike effects. There were sounds of which I was anxious to include, without means, in the perceived sound - a dragging susurration of a sound as a door was opened and closed; some crashes that were occurring right outside the auditorium, or so it seemed. "Don't ignore that as a distraction," I thought; "regard it as part of the film" I think that at some point someone joined in. I have known that before. It seems to be a satirical response, usually by those who have not grasped what I am trying to do. An assumption is made by them that there is some misbehaviour going on. We lost a few of the audience. There is a colloquial analytical method which reads it as a good sign if people get up and leave during a performance; though it may just indicate that those people have got to the end of the time they can spare from other responsibilities or interests; and with such a varied programme as was presented it was impossible to say what they were responding to in leaving the auditorium The applause at the end of the performance was warm and enthusiastic; and redoubled when William English thanked me. Many had not realised that I was performing live and in the audience - the programme notes were given out after I had performed. Later, outside the auditorium, as everyone was leaving, a number of people went out of their way to thank me - probably a more telling datum than the results on an audience response form. The numbers involved were really too small to be a statistical basis for an argument; yet they went out of their way to thank me when there was no pressure to do so - it can be reduced to two composite comments (i) good sound (ii) such a surprise - the surprise of having someone provide a live "sound track" apparently counted for as much pleasue as the pleasure I gave them with my sound track itself So, despite all that I said to William English, there was no stress. I obviated that to a great extent by never announcing or overtly demonstrating what I was doing - though that rlief was not my motivation. The pressure to do a good job and to give William what he wanted - or something else that he was grateful to have! - was still there; but a more public banana skin was inadvertently avoided or averted Yet it was really a judgement that it was aesthetically best for me to stay in my seats which kept me there. Had I stood up there it would been a visual interaction with the film which was hardly called for. I had responded anticipatorily to a(n unrecorded) description by William English of his film by saying that I could treat it as dance and thereby pick up on earlier work with dancers (most recently at Laban in 2008) From that perspective, I might conclude that I should do something dancelike - though I have a broad interpretation of what that might be When the film was actually running, I found myself quite happy to let the film dance , and sit there responding only in the sonic Nor do I want to do anything too strong. One of the things about the film that I see now is its relative understatement. And there's also the oddity of much that we're seeing. I didn't want to dominate that. Better, I felt, to be as restrained as the film. 
Type Of Art Film/Video/Animation 
Year Produced 2009 
Impact On me, considerable. I learned much though using movie was a score was something I did not engage with much until my worn on "See you" years later 
 
Title Foreshore variation 35 - sound work awaiting publication. 
Description Foreshore 35 variation b; ; score by Lawrence Upton; 2 minutes 50 seconds; Benedict Taylor viola and Lawrence Upton voice stereo; made at Goldsmiths June 2011 has been presented on a number of occasions but passed over when we came to choose for CDs etc - we have a superfluity of material See also entry on other work with Guy Begbie 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2011 
Impact The original overall score made an impact and was widely exhibited Visual Research Centre, Dundee, Scotland 5 March - 1 April 2011 Scottish Poetry Library, Edinburgh, Scotland 14 May - 15 July 2011 e-poetry, Center for the Arts, Buffalo, USA 17 - 22 May 2011 Royal Scottish Academy, Edinburgh, Scotland 12 November to 18 December 2011 Poetry Beyond Text Duo exhibitions UWE, Bower Ashton Campus, Bristol 19 September to 22 October 2011 University of Middlesex at Hendon 3 September 2012 to 21 September 2012 This particular item is not adequately ilustrative of my ideas to be useful in my research 
URL http://lawrenceupton.org/GBLU/collab_GB.html
 
Title Lawrence Upton, a film by Benedict Taylor. 
Description This appears to be an inadvertent duplication of "Sonic Visuals" -- see above 
Type Of Art Film/Video/Animation 
Year Produced 2011 
Impact see above 
 
Title NAMELY for Peter Manson. 
Description NAMELY for Peter Manson was a visual poem for Manson's 40th birthday included in a festshcrift curated by Alec Finlay The text-sound composition using this poem as a score was commissioned by Contemporary Poetics Research Centre, Birkbeck College, London and presented at The London Horse Hospital on 23rd May 2009 (stereo); 21 minutes approx; text, pre-recorded voice, projections and live voice Lawrence Upton; studio treatment of and composition with recorded voice, and live treatment of voice and sound John Drever 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2009 
Impact The popularity of this piece, indicated by its number of versions is indicative 
URL http://soundsrite.uws.edu.au/soundsRiteContent/volume4/DreverUptonInfo.html
 
Title Naming and Cursing: some live text-sound compositions - Revisited Laboratorio Chile - invited. 
Description This is not a creative product but a critical essay invited by Revista Laboratorio, with which I maintain contact 
Type Of Art Composition/Score 
Year Produced 2010 
Impact Considerable As an artist / researcher and as director of Writers Forum since Bob Cobbing's death, I have considerable contact with Chilean artists working in this area and the essay has been influential 
URL http://www.laboratoriodeescrituras.cl/naming-and-cursing-some-live-text-sound-composition/
 
Title Non determinist responses - Readings. 
Description A talk at ICA 
Type Of Art Image 
Year Produced 2009 
Impact Considerable impact I would have thought. It was well-attended and was published soon after 
URL http://www.bbk.ac.uk/readings/issues/issue5/LawrenceUpton_Nondeterminist_responses
 
Title Over a dozen bookwork's with Guy Begbie. 
Description This was a collaborative working, producing bookworks, between 2010 and 2012. We made works to commission and in order to answer investigative questions, both those raised by my own AHRC research and our various practice-arising questions. Some of our work went into collections. All of it was exhibited. We are now having a rest from the collaboration to review and hope to resume next year. I have given the start date but it will not let me be more precise 
Type Of Art Creative Writing 
Year Produced 2010 
Impact Exhibitions, critical article, collections -- see web page on my website 
URL http://lawrenceupton.org/GBLU/collab_GB.html
 
Title Sonic Visuals, Film by Benedict Taylor. 
Description A film by Benedict Taylor as part of his research for Masters in Music. He interviews me in a variety of environments including my office and an EMS 
Type Of Art Film/Video/Animation 
Year Produced 2010 
Impact The film has been viewed a numerous number of times and is my preferred introduction to my ideas and work 
URL http://www.gold.ac.uk/music/research/musicandethnographicfilm/student-archive/2010/
 
Title The Sound of Writers Forum a film by Stephen Willey. 36 Mins. 2010. Includes interview with Lawrence Upton. 
Description This is an odd attempt to cover the decades (ongoing) of Writers Forum. There is no indication of why people were selected where others were not; but it gives SOME idea of the organisation -- which I now run 
Type Of Art Film/Video/Animation 
Year Produced 2010 
Impact More people know of WF and have asked me to expand on the answers I gave. That was as well as I was constrained by what I was asked 
 
Title Various Songs. 
Description This seems to be a by-product of the database transfer process. I have no such work 
Type Of Art Performance (Music, Dance, Drama, etc) 
Impact This seems to be a by-product of the database transfer process. I have no such work 
 
Description The key findings are still incomplete. They are adequate for me to speak with my collaborators who are used to to open-ended and indecisive aesthetic statements!
The need to state the matter simply and clearly is still very much on my mind.
I could I suppose draw conclusions from the papers I have published; but I would also wish to refer to works and studies in process, including a range of three dimensional notations which are as yet too fluid in conception to summarise effectively.
A lot should clear up when I have time to work on that; and when Benedict Taylor has time to work on the series Possibles; and when Professor John Drever has time to attend to our proposed piece Tombolo.
I am anxious to see these works developed and realised.
It may take perhaps two years... I have an invitation to speak in Santiago de Chile which I have delayed not least because I think my hosts at the university and at FDE, the Chilean opposite number of Writers Forum, would welcome news of these matters.
I envisage and hope for a laregish publication currently known as Lab Book.
It may be frustrating; but I hope that it will be worth it.
Exploitation Route Others are welcome to follow my performance leads; or indeed the leads in my essays

The ideas are openly discussed in Writers Forum Workshop which meets every 3 or 4 weeks at Goldsmiths
Sectors Creative Economy,Education,Culture, Heritage, Museums and Collections

URL http://wfuk.org.uk/LB/LB2016list.pdf