Audiovisual Space: Recontextualising Sound-Image Media
Lead Research Organisation:
University of Greenwich
Department Name: Creative Prof. & Digital Arts, FACH
Abstract
The spatial turn, which swept the wider humanities, has not significantly contributed to inform our understandings of sound and image relationships. Audiovisual media are still often conceptualised in visually biassed, temporal frameworks, divided in relation to layers of narrative structure. This project seeks to investigate if spatial thinking can provide new understandings of the audiovisual, in which all sound and image elements (and their spatial properties) can be identified as fundamentally active participants in constituting our audiovisual experiences. This project will engage Oscar and EMMY award winning Sound Design professionals in collaborative research to unpack their tacit knowledge and to investigate the role that spatial thinking plays within their practice.
Taking an interdisciplinary approach, this project seeks to use concepts of space to analyse and critique established audiovisual theories, bridging traditional subject boundaries and inspiring new perspectives for understanding sound and image media. Both traditional scholarly research and creative practice will be applied as complementary methodologies to test and interrogate hypotheses, working towards knowing both 'about' and 'through' audiovisual artefacts.
Bringing together research from a range of different subject areas (including electroacoustic music, sound art, film musicology, film practice, spatial studies, architecture & anthropology) as well as adopting both scholarly and practice based methodologies, this project seeks to deliver new understandings which can be communicated to diverse academic audiences and practitioners within the creative industries. Outcomes have the potential to benefit scholars of audiovisual media, students and graduates looking to develop their creative practices through critical understandings, and creative industry professionals seeking to engage with the latest theoretical perspectives to advance their practices. Outcomes will be particularly relevant for studies in emerging areas such as Virtual Reality where conventional temporal constructs of film are dissolved by the medium
This project will:
1. Synthesise concepts from electroacoustic music, film sound practice, spatial studies and film studies towards developing new interdisciplinary understandings of the audiovisual as spatial constructs [Outputs - A,B,D,F,G].
2. Engage with non-academic film sound practitioners to stimulate knowledge exchange, informing theoretical understandings and seeding impact from academia into the creative industries [Outputs - E,F,G,C].
3. Establish agendas of research, facilitating international interdisciplinary collaboration and exchange via conferences, journal special issues and edited volumes [Outputs - C,D,E,F,G].
4. Host international networking events to bring together fellow researchers within audiovisual and contiguous fields to work collaboratively on projects and publications [Outputs - G,C,E,F].
In addition to academics and researchers in universities, this project actively involves leading creative professionals (via partnership with the Association of Motion Picture Sound (AMPS)) engaging the extensive tacit knowledge from professionals working in commercial film. This methodology enables the triangulation of research findings and the opportunity to investigate spatial conceptions of the audiovisual from a range of different perspectives. Outputs will include books, academic journal articles, edited volumes, audiovisual compositions, radiophonic work, public talks and conferences.
Networking events for researchers (with emphasis on supporting Early Career academics) will take place as part of the Leadership activities associated with this event, engaging both European and international research communities in the investigation of and promotion of new agendas of research in the area of audiovisual space.
Taking an interdisciplinary approach, this project seeks to use concepts of space to analyse and critique established audiovisual theories, bridging traditional subject boundaries and inspiring new perspectives for understanding sound and image media. Both traditional scholarly research and creative practice will be applied as complementary methodologies to test and interrogate hypotheses, working towards knowing both 'about' and 'through' audiovisual artefacts.
Bringing together research from a range of different subject areas (including electroacoustic music, sound art, film musicology, film practice, spatial studies, architecture & anthropology) as well as adopting both scholarly and practice based methodologies, this project seeks to deliver new understandings which can be communicated to diverse academic audiences and practitioners within the creative industries. Outcomes have the potential to benefit scholars of audiovisual media, students and graduates looking to develop their creative practices through critical understandings, and creative industry professionals seeking to engage with the latest theoretical perspectives to advance their practices. Outcomes will be particularly relevant for studies in emerging areas such as Virtual Reality where conventional temporal constructs of film are dissolved by the medium
This project will:
1. Synthesise concepts from electroacoustic music, film sound practice, spatial studies and film studies towards developing new interdisciplinary understandings of the audiovisual as spatial constructs [Outputs - A,B,D,F,G].
2. Engage with non-academic film sound practitioners to stimulate knowledge exchange, informing theoretical understandings and seeding impact from academia into the creative industries [Outputs - E,F,G,C].
3. Establish agendas of research, facilitating international interdisciplinary collaboration and exchange via conferences, journal special issues and edited volumes [Outputs - C,D,E,F,G].
4. Host international networking events to bring together fellow researchers within audiovisual and contiguous fields to work collaboratively on projects and publications [Outputs - G,C,E,F].
In addition to academics and researchers in universities, this project actively involves leading creative professionals (via partnership with the Association of Motion Picture Sound (AMPS)) engaging the extensive tacit knowledge from professionals working in commercial film. This methodology enables the triangulation of research findings and the opportunity to investigate spatial conceptions of the audiovisual from a range of different perspectives. Outputs will include books, academic journal articles, edited volumes, audiovisual compositions, radiophonic work, public talks and conferences.
Networking events for researchers (with emphasis on supporting Early Career academics) will take place as part of the Leadership activities associated with this event, engaging both European and international research communities in the investigation of and promotion of new agendas of research in the area of audiovisual space.
Publications
Andrew Knight-Hill
Art of Sound: Creativity in Film Sound and Electroacoustic Music
Knight-Hill A
(2022)
Convergence in Parallel Praxis: Electroacoustic Music and Sound Design
| Title | About the Night |
| Description | Sound Design / Composition for the short film, "About the Night". 12 minutes in duration Altipano Productions, A Girl at the Table Productions Director: Lee-Jane Bennion-Nixon Writer: Stephen Nixon A soundtrack composed to a fixed timeline following the fluid nature of the storyline - a cafe late a night. The soundtrack explores the use of recognisable sounds of the cafe, and abstracted sounds to emotionally set the scene of the cafe, and also the three actors as they come to a mutual understanding of one another. |
| Type Of Art | Composition/Score |
| Year Produced | 2023 |
| Impact | This composition forms part of the practice research components of the "Audiovisual Space: Recontextualising Sound Image Media" AHRC Leadership Fellowship. These practical elements have been integrated into the full film which will be released within 2022. The practice of undertaking this research and negotiating its development has informed the development of conceptual ideas in the theoretical elements of the project and as part of the practical elements of my AV Space research project. As the film is released and distributed we hope to receive responses from audiences and to share and publish more details on the practice. |
| Title | Gherstl's Ghost - Soundtrack |
| Description | String Quartet composition for 360 immersive film sequence Gherstl's Ghost (Dir. Peter Bathurst). This soundtrack was developed in two parts. An initial section composed to fixed timeline for an opening film sequence which seeks to convey the swirling, emotional vortex of the films primary discourse. And a second section designed for the immersive 360 sequence, designed to loop and be dynamically remixed as the user passes through the space. This bifurcated project enabled the development of two contrasting elements, a more traditional linear score and a more open and spatial dynamic score element. Both were developed around a common theme with exploration of the affordances of each emphasis explored. |
| Type Of Art | Composition/Score |
| Year Produced | 2021 |
| Impact | This composition forms part of the practice research components of the "Audiovisual Space: Recontextualising Sound Image Media" AHRC Leadership Fellowship. These practical elements have been integrated into the full film which will be released within 2022. The practice of undertaking this research and negotiating its development has informed the development of conceptual ideas in the theoretical elements of the project and as part of the practical elements of my AV Space research project. Ae the film is released and distributed we hope to receive responses from audiences and to share and publish more details on the practice. |
| URL | https://vimeo.com/594715799 |
| Title | OVER LUNAN |
| Description | Over Lunan is a multifaceted collaborative project, commissioned by Aproxima Arts, originally as the finale work as part of the Arbroath 2020+1 celebrations. https://aproxima.co.uk/over-lunan The work includes a series of sub-strand elements: - Radiophonic Work / Radio Play (Recording 42 mins). - Sound Design for immersive theatre production (no fixed duration). - Musical composition for finale of immersive theatre event (Live Performance with Recorded Sound 20 mins). - Atra-hasis musical radio montage (Recording 18 minutes). - Atra-hasis choral work (Score and Recording) (9 minutes). The work was inspired by the Angus coastline of Lunan Bay, its rich geological history and creative links with contemporary geopolitical events. "Our world is formed and connected by the sea. Thousands of years ago, these coastlines were shaped by cataclysmic events; in Mesopotamia too, mythical floods gave rise to stories of the Apkallu - half-fish, half-human sages who emerged from the sea to bring wisdom to our ancestors, living in what became known as the 'cradle of civilisation'. Thousands of years later, those same lands lie decimated by war and the world's oceans are rising again what would the Apkallu say if they returned to speak for one last time?" The project involved a diverse team of creative collaborators including: Angus Farquhar - Director Approxima Arts Purni Morell - Dramaturg and script writer (former Director of Unicorn Theatre), Andrew Knight-Hill - Composer of electro-acoustic music, Bede Williams - Conch John and Patrick Kenny - Conch and Carnyx players Cameron Sinclair - Musician and composer Robin Laing - Actor Steve Urquhart - Radio Producer (BBC Scotland) Choir - Chamber Choir from the University of St Andrews Music Centre Rebecca Black Sarah Greer James McNinch Nathanael Fagerson Ross McArthur Guy Minch Elizabeth Unsworth Wilson Jane Pettegree Choir Director - Claire Innes-Hopkins |
| Type Of Art | Performance (Music, Dance, Drama, etc) |
| Year Produced | 2021 |
| Impact | This work formed a significant part of the AHRC Leadership Project - Audiovisual Space, developing collaborative working skills and providing a platform for critical reflection and consideration of creative practices in media. Working with established professionals with extensive experience - Angus Farquhar, Purni Morell, Steve Urquhart - provided invaluable insights into collaborative working practices involved in delivering an industry ready output. Radio Play was broadcast on Radio North Angus, Resonance FM and Radiophrenia 2022. Beach production was attended by 20 audience groups of 50 people as part of the Arbroath 2020+1 festival and received highly favourable reviews in the press and media. The project continues to be disseminated via conferences and events and engaged with online. Outputs for the project will inform the development of outputs for the Audiovisual Space project |
| URL | https://aproxima.co.uk/over-lunan |
| Title | OVER LUNAN - Radio Play |
| Description | Radio play and sound design composition composed for the OVER LUNAN project. This constituted a major practical component of the practice research element of my AHRC Leadership Fellowship, working with and reflecting upon the collaborative creative process towards the development of a work that sought to evoke and explore notions of place and space. This 45 minute radio play involved the articulation of soundscapes that blurred the lines between representation and creativity, extending mimesis into abstraction. The creative challenge informed the elaboration of conceptual ideas within the research project and enabled reflection upon the challenges and expectations of the collaborative process. "Things are not always as they seem. Obvious, perhaps, yet Over Lunan sheds light on some of the hidden connections between Lunan and places far afield, in both time and space" "In 2015 the journalist Charlie Ross spent a summer in Lunan Bay on the north east coast of Scotland, investigating the area's history and mythology, and the natural forces that have shaped this coast through millennia. He died before his work was complete, but his discoveries, including Lunan's connection to the ancient cultures of the Middle East, are now brought to life posthumously in this new radio piece, produced by Steve Urquhart and directed by Purni Morell, with music and sound design by Andrew Knight-Hill." It has been broadcast locally and nationally multiple times on Radio North Angus, Resonance FM, Resonance Extra & Radiophrenia. |
| Type Of Art | Composition/Score |
| Year Produced | 2021 |
| Impact | Broadcasts: Resonance FM - 10.9.2021 / 13.09.2021 / 18.12.2021 - Radio North Angus - 6.9.2021 / 8.9.2021 Radiophrenia - February 11th 2022. And online streaming. |
| URL | https://aproxima.co.uk/over-lunan |
| Title | ROARY |
| Description | Soundtrack to an experimental film directed by Dave Leister. This film was created from a looped clip of the 1957 MGM lion. The soundtrack of the film is drawn and extended from the sounds of the MGM lion and synthesiser. It is an open secret in the film sound world that the MGM lion sound has been edited and transformed over the years. As such the film is both a celebration of this iconic sample and an exploration of the evolution of sound over the past 60 years. The work beings using the original 1957 roar and eventually transitions into samples derived from the updated 1982 MGM ident created for the film Poltergeist. This ident actually uses samples taken from a tiger. Through online research I was able to identify the original recordings used as a basis for this roar and thus access outtakes and more diverse sonic materials that were added to the soundtrack. Thus in both sonic transformation via granulation of the original lion and in editing and montage from the 1982 recordings I was able to develop and transform the lion sounds to create variation and development over the 6 minute duration of the film. |
| Type Of Art | Composition/Score |
| Year Produced | 2022 |
| Impact | ROARY premiered at the 2022 BFI London Film Festival as part of the Experimenta series. |
| URL | http://film-directory.britishcouncil.org/roary |
| Title | Through an Ocean of Storms |
| Description | This composition forms part of the practice research components of the "Audiovisual Space: Recontextualising Sound Image Media" AHRC Leadership Fellowship. Combining techniques from electroacoustic music and film sound design this practice research output is an applied exploration of the synthesis of these disparate fields of practice. This 5.1 surround sound composition is made entirely from audio recordings of the NASA Apollo 12 mission and extended trumpet (performed by Dr Bede Williams, St Andrew's University). The work is loosely structured around the narrative of the mission using live radio communications as dialogue, with which the music provides an affective and evocative sonic score. |
| Type Of Art | Composition/Score |
| Year Produced | 2022 |
| Impact | The work was premiered as part of a concert at the Royal Observatory in Greenwich, in our 2022/23 Loudspeaker Orchestra concert series, and performed at the SOUND/IMAGE Festival 2022. |
| Title | Tickets for the Afterlife - Sound Design for Website / App Platform |
| Description | Tickets for the Afterlife aims to introduce people to planning end of life wishes. Through visual communication, interaction and personal decision making. It uses artistic research methods that position diverse rituals and potential futures as options to be chosen within the digital experience/ website. It also uses the library's collections of books as a way of giving people personalised recommendations for further inquiry. The Sound Design for this project included a short composition for the opening page, and small sound tokens as the user moves through the map of books. The Tickets for the Afterlife website was creatively directed by Dr Stacey Pitsillides with graphic designer Elena Demireva, web developer's Parvin Asadzadeh Birjandi & Tom Hegarty and sound designer Emma Margetson. Content research and co-design with Dr Claire Nally and the Death Positive Library team. Together this team have investigated the role of Death Positive Libraries during the pandemic through author/Filmmaker Q&A's, death cafes and A Grief Spoon Room with the Loss Project. |
| Type Of Art | Composition/Score |
| Year Produced | 2021 |
| Impact | This composition forms part of the practice research components of the "Audiovisual Space: Recontextualising Sound Image Media" AHRC Leadership Fellowship. Tickets to the Afterlife was a jointly delivered project across three library services. The project explored the role of public libraries as death positive spaces for conversations, debates and explorations about death. The project toured around the UK as part of a wider series of events, and was physically presented across three core areas (Redbridge, Kirklees and Newcastle Libraries). |
| URL | https://afterlifetickets.co.uk/ |
| Description | Our research has investigated the creative practices of world leading sound professionals working in contemporary music and film and television. Through analysis of interviews we have discerned the key principles, approaches and techniques that inform the creative decision process when working in sound. Our results have demonstrated that creativity in sound (whether in Film Sound or Electroacoustic Music) is an emergent property of people shaping materials within iterative flows and processes. As such, if we want to truly understand creativity in sound practice, then we must pay attention to how these flows and processes operate. This is about moving beyond a direct descriptive focus on actions taken (what was done), to access and foreground the rationales and reasons behind why actions might be taken. Recognising the possible decision-making processes that practitioners might take and the sites of possible choice that lye within: What options are available and how might they convey different impressions to listeners? - then in understanding something about why. We have drawn up our "Map of Sonic Creativity" that flags these sites of choice which can be used. This is a shift from the framing of sound practice in an objective way - focusing on absolute facts; towards an approach that embraces the complex subjective realm of individual human perspective - celebrating the uncertain and discussing sound practice, not in terms of concrete facts, but in terms of possibility. |
| Exploitation Route | By engaging in extensive discissions around the nature of creative practice in sound we have developed a rich resource which confirms and yet also exceeds our hypotheses, providing new insight. Celebrating creative process as a rich, complex and valid form of knowledge, our research has attempted to provide waypoints to inspire, drive and empower ever greater sonic creativity. Whether you are reading as a sound practitioner seeking to reflect on your own creative practices, a potential collaborator (Filmmaker, Cinematographer, Scriptwriter) looking to know more about what sound can do, or a student studying towards a career in sound or music; we hope that our investigation has provided you with an opportunity to unlock deeper insights into the complex potentials of sound. In appreciating multiplicity and potential as core features of the creative process we are better informed to reflect upon and design effective training for students and professionals, to provide collaborative exchange across and between film sound and electroacoustic music, open access to the medium of sound for new voices and provide a route of access for those who could greatly benefit from a fuller understanding of the potential of sound as an artistic medium and collaborative partner. We hope that, as a result of our study, filmmakers, producers, directors, designers might develop greater recognition for the possibilities that sound provides when engaged as an equal partner in the creative process. The underlying insights into creative practice and creativity will also be valuable for practice-research scholars, those seeking to learn more about creative practices and those engaged in PhD study around creative practice, whether in sound or other artforms. We hope those engaged in such will embrace with confidence the richness of subjectivity with the support of our analysis and utilise our Map of Sonic Creativity as a model for wider and future understandings of making and doing creative practice. Though developed out of a detailed ethnographic study of sonic practices the findings have the potential to be transferrable to any other creative practice and we look forward to learning about their application in a range of contexts. |
| Sectors | Creative Economy,Education |
| Description | Consultancy - University of Montreal - Sound Design Curriculum Development |
| Geographic Reach | North America |
| Policy Influence Type | Influenced training of practitioners or researchers |
| Description | Research Development Networking Event (Day 1) |
| Geographic Reach | Multiple continents/international |
| Policy Influence Type | Influenced training of practitioners or researchers |
| Impact | Examples of feedback after workshop questionnaire: Do you think that this will impact upon and inform your research? In what way? "Absolutely - the breadth of conversation / topics covered was highly informative, with a range of expertise prompting interesting ideas and perspectives that simply wouldn't have occurred to me alone". "I see very important opportunities for collaboration emerging from this network, especially in the sense of synthesising visual and audio practices. Such collaborations will also be an opportunity to develop new ways of conceptualising artistic practice, especially in the process of writing a chapter for an edited volume". Do you think that this will impact upon and inform your practice? In what way? "Yes, I'm particularly interested to see how I might use film or screen-based media in the development of current and new works. Either as a development tool or/and documentary tool for spatialised and site-specific composition". |
| Description | Research Development Networking Event (Day 2) |
| Geographic Reach | Multiple continents/international |
| Policy Influence Type | Influenced training of practitioners or researchers |
| Impact | Share disciplinary perspectives on spatiality. Stimulated interdisciplinary collaboration. Seeked to foster new research agendas on spatiality and practice. |
| Description | Research Informed MA Curriculum - MA Music and Sound Design |
| Geographic Reach | National |
| Policy Influence Type | Influenced training of practitioners or researchers |
| URL | https://www.gre.ac.uk/postgraduate-courses/ach/music-and-sound-design-ma |
| Description | Creative Research Capabilities (CResCa) |
| Amount | £998,795 (GBP) |
| Funding ID | AH/X010260/1 |
| Organisation | Arts & Humanities Research Council (AHRC) |
| Sector | Public |
| Country | United Kingdom |
| Start | 01/2023 |
| End | 03/2023 |
| Title | Map of Sonic Creativity |
| Description | Our map documents nodes of aesthetic potential, whereby creatives make informed decisions on their creative outcome. ? PRINCIPLES - Foundational ideas that inform a core philosophy of making. ? APPROACHES - Aesthetic strategies deployed to articulate sound and evoke affect. ? TECHNIQUES - Material practices through which ideas and approaches can be articulated in sound. These have been arranged in concentric circles, and colour coded (with Principles in blue, Approaches in orange and Techniques in yellow). Our map might be used to navigate an existing sonic terrain or identify new opportunities to chart out your own soundscapes. You might choose to: • Consider links between ideas and practices. • Analyse and reflect upon creative processes (your own, or others). • Identify possible novel extensions for existing decisions. • Stimulate group discussion when working collaboratively. • Deconstruct and consider possible creative intentions in an analysis of someone else's work. As on any journey, you might approach our map in a range of different contexts and with varying goals in mind. The main goal of our map is to set out the terrain, so that you can clearly identify the range of opportunities open to you. Without a visualisation of options, we might fall into conventions or self-limit potential, but with our map you can reflect upon which approach you might take, to ensure that you are not missing other available opportunities. You might choose to make use of our map at any stage within the creative process. Perhaps for analysis and reflection upon completed works or in the generation of new works. It might be used at the start of a project to generate ideas (either alone or in dialogue with collaborators), or part way through the project as a point of evaluation, reflecting upon the path in which the work has developed since its initial inception. |
| Type Of Material | Improvements to research infrastructure |
| Year Produced | 2023 |
| Provided To Others? | No |
| Impact | The Map has not yet been published. It will be published as part of the book "Art of Sound: Creativity in Film Sound and Electroacoustic Music" In Press. |
| Title | Interviews with Film Sound Practitioners and Electroacoustic Composers |
| Description | Bringing together world-leading industry professionals in sound design and composition with academics and sound artists, to critique and reflect upon each others work and the role of spatiality within it. Facilitating interdisciplinary knowledge exchange and the potential to further seed academic impact into the creative industries. We have conducted 32 interviews (average 1 hour each) in total. This includes both solo interviews with each partner. And joined discussion interviews with pairs of practitioners brought together to discuss their practices. Leading film sound professionals featured include: Randy Thom, Paula Fairfield, Anne Kroeber, Nina Hartstone, Jesse Dodd, Peter Albrechtsen, Steven Fanagan, George Vlad, Onalee Blank. Leading electroacosutic music composers include: Annette Vande Gorne, John Young, Trevor Wishart, Hildegarde Westerkamp, KAMRU, Annie Mhatani, Cathy Lane, Nikos Stravopoulous, Natasha Barrett. This constitutes one significant data collection component for our AHRC Leadership Fellowship - Audiovisual Space: Recontextualising Sound-Image Media |
| Type Of Material | Database/Collection of data |
| Year Produced | 2022 |
| Provided To Others? | No |
| Impact | Original knowledge has been generated and will be disseminated within an edited volume publication. This has the potential to deliver future impact once shared. |
| Description | British Audiovisual Research Network - Lecture Series |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Postgraduate students |
| Results and Impact | The BARN Virtual Colloquia was established in 2020 to foster an international, virtual community of scholars and practitioners from all disciplines engaged with the study of music and sound in audio-visual media. Events continue weekly from October-December and January-March each year. My talk was featured in the following event: "Music and Sound Practices" (Friday 3rd March, 2023, 4-5:30pm (chair: Elizabeth Hunt, University of Liverpool)) Library music between "art" and "craft" (Júlia Durand, CESEM - NOVA University of Lisbon ) Understanding the Art of Sound (Andrew Knight-Hill, University of Greenwich) A Study of Temporality in Japanese Film phenomenological reflections on the in-betweenness of sound (Sascia Pellegrini, School of the Arts of Singapore) |
| Year(s) Of Engagement Activity | 2023 |
| URL | https://www.barnvirtual.com/archive/recordings/recordings-jan-mar-2023 |
| Description | British Audiovisual Research Network Virtual - Presentation |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Postgraduate students |
| Results and Impact | Talk to the BARN Virtual Network Symposium. Postgraduate researchers interested in audiovisual practice. In this presentation I shared elements from my early monograph chapters and the talk elicited many enquiries from these early career researchers which have generated interest in future research networking activities to be hosted by my project. |
| Year(s) Of Engagement Activity | 2021 |
| URL | https://www.barnvirtual.com/home |
| Description | Guest Lecture - Sound & Space University of the Arts Helsinki |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Undergraduate students |
| Results and Impact | Guest lecture to students an alumni at University of the Arts Helsinki. SAMA (Sound Art & Sonic Arts) is a minor studies Masters level module within the joint studies of our university, meaning that such courses are offered to all Uniarts students as electives. This session also included continuing studies students in attendance through our Open University (who are often alumni and working artists). The students who attended were a broad mix of Academy of Fine Arts students (many of whom have a background in moving image), Theatre Academy students (often lighting and sound students), and Sibelius students (most frequently music technology). The students' diverse backgrounds presented a challenge, particularly in these one-off lecture situations, but this proved to be a rewarding a session which triggered lively discussion and questioning. |
| Year(s) Of Engagement Activity | 2021 |
| Description | Loudspeaker Orchestra Concert - "Composing Space", Royal Observatory - Peter Harrison Planetarium. |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Public/other audiences |
| Results and Impact | This concert in the planetarium of the Royal Observatory in Greenwich, featured a programme of works inspired by space and exploration, including my composition "Through an Ocean of Storms". The event was attended by a diverse public. |
| Year(s) Of Engagement Activity | 2022 |
| Description | MAMI 2021 |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Postgraduate students |
| Results and Impact | International Conference "Music and the Moving Image XVII" Hosted by DEPT. of MUSIC and PERFORMING ARTS PROFESSIONS, NYU Steinhart. I spoke about the scope of the project and the basis of engaging spatiality as a way to find new perspectives on audiovisual analysis. |
| Year(s) Of Engagement Activity | 2021 |
| Description | Madras College - Guest Lecture |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | Local |
| Primary Audience | Schools |
| Results and Impact | Presentation to 25 students in their music class on composition, sound design and sonic creativity. We listened to sound examples and discussed the potential of creativity and approach to creative strategies. |
| Year(s) Of Engagement Activity | 2023 |
| Description | Perth College - Guest Lecture |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Undergraduate students |
| Results and Impact | Invited Guest lecture on sound design and composition of the site specific "Over Lunan" performance [Artistic Output]. This talk focussed upon the challenges of practice research and on responding to notions of space, place and identity within the creative process. It also engaged discussions on creativity, collaboration and teamwork towards the realisation of outputs. |
| Year(s) Of Engagement Activity | 2021 |
| Description | SOUND & SPACE: ESPACES SONORES DANS LE CINEMA ET LES PRODUCTIONS AUDIOVISUELLES |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Postgraduate students |
| Results and Impact | Colloque international organisé par / An International Conference Organized by Antoine Gaudin (IRCAV, Université Sorbonne Nouvelle) et/and David Roche (RiRRa21, Université Paul Valéry Montpellier 3). this paper discussed the application of spatial theory to an analysis and deconstruction of Chion's tripartite listening model and challenges its efficacy in representing the experience of listening and marks its shift towards encouraging segmentation and objectification of the soundtrack due to its sublimation of the agency of the listener. |
| Year(s) Of Engagement Activity | 2022 |
| Description | THE SAMPLER MIXTAPE #27 @ RESONANCE FM |
| Form Of Engagement Activity | A broadcast e.g. TV/radio/film/podcast (other than news/press) |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Public/other audiences |
| Results and Impact | An hour of eclectic new music by Sound and Music, presented on The Sampler Mixtape and Resonance FM on Friday 11 November 2022 at 12:00 and a repeat listen on Monday 14 November 2022 at 09:00. Hosted by Dr Emma Margetson, a curated selection of sound and music by artists who performed and shared their work within the SOUND/IMAGE festival on 18-20 November 2022 at the University of Greenwich. Tracklist: 00:32 - Qualia - Panayiotis Kokoras (2017) 10:13 - The Garden of Earthly Delights (extract) - Trevor Wishart (2020) 18:02 - Efflux - João Castro Pinto (2021) 28:01 - Our Ancient Woods - Sarah Keirle (2022) 37:33 - Quantum - Enrico Dorigatti 45:52 - Through an Ocean of Storms (extract) - Andrew Knight-Hill, Bede Williams (Trumpet) (2022) |
| Year(s) Of Engagement Activity | 2022 |
| URL | https://www.mixcloud.com/samplernews/the-sampler-resonance-fm-27-emma-margetson/ |
| Description | XIII Simposio Internacional La Creación Musical en la Banda Sonora |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Postgraduate students |
| Results and Impact | Los días 25 y 26 de junio de 2021 se celebrará en formato virtual el "XIII Simposio Internacional - La creación musical en la banda sonora", que desde hace casi dos décadas viene siendo el foro de referencia para el estudio de la música en los medios audiovisuales. |
| Year(s) Of Engagement Activity | 2023 |