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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.

A book on a table, 'Postcards from the Anthropocene' a pale green cover with a list of names

Research Feature: Interference Acts: Performances along the Threshold of the Human and Non-human

How might collisions of the human and nonhuman help to illuminate perspectives relating to environmental justice, agency, and rights? What type of aesthetical context is required in order to comprehend such noisy transmissions? Mark Peter Wright's chapter 'Interference Acts: Performances along the Threshold of the Human and Non-human' in 'Postcards from the Anthropocene'.
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Profile picture of Lisa Hall

Member Profile: Lisa Hall

Lisa Hall is a London based sound artist exploring urban environments using audio interventions and performative actions. Interrupting behaviour and questioning design, these works aim to make space for something new. Lisa has exhibited and contributed to a wide range of arts events and exhibitions including Folkestone Triennial, Lisbon Architecture Triennale, Cafe Oto, Resonance Fm, Framework Radio, Whitechapel Gallery, Speculum Artium and Whitstable Biennale.
Further infomation on Lisa Hall
Abstract circular sketch with trees on the periphery. Lines leading towards a black centre resembling the middle of a vinyl record or speaker - drawn on old yellowed paper

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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