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Creative Research into Sound Arts Practice (CRiSAP) is a research centre of the University of the Arts London dedicated to the exploration of the rich complexities of sound as an artistic practice.

 

Our main aim is to extend the development of the emerging disciplinary field of sound arts and to encourage the broadening and deepening of the discursive context in which sound arts is practised.

Research Feature: Sonic Possible Worlds - Revised Edition

This revised edition continues Voegelin’s exploration of the sonic possibility of the world into the sonic possibility and impossibility of the body. Listening to works by Áine O’Dwyer, Hannah Silva and Jocy de Oliveira, it considers sonic possible worlds’ radical power to rethink normative constructions and to fabulate a different body from its sound. Thus, the word continuum in the subtitle of this book, Hearing the Continuum of Sound, which in the first edition stood principally for the continuum between music and sound art, is opened up to denote also another continuum that stands as principle for the body, while including that of sound: Hearing the Continuum Between Plural Bodies Breathing, between humans, humanoid aliens, monsters, vampires, animals, plants, things and anything we have no name for yet but which a sonic philosophy might start to hear and call.
Further infomation on Sonic Possible Worlds - Revised Edition

Member Profile: Hector MacInnes

Hector MacInnes is a sound artist whose practice encompasses installation, interview, song, text and speculative design. His work is focussed on the narratives and fictions that shape our sense of place, and on storytelling and the imagination as shared tools for resilience.
Further infomation on Hector MacInnes

News: Call for Contributions: In The Field 2

Dates: 5 and 6 July 2024 Venue: In person at London College of Communication, Elephant and Castle, London, SE1 6SB and online Deadline for proposals:  6 February 2024 Notification of acceptance:  15 March 2024 In 2024 we will revisit In The Field, over a decade since the first significant gathering of artists and researchers in 2013, to ask how has and how might the practice of field recording responded in these times?
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