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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.
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Research Feature: The Voice and its Double
The Voice and its Double is an online exhibition curated by Michael Hiltbrunner for CRiSAP in 2009 on experiments in the artistic use of the recorded voice. The exhibition is still available online to visit. Inspired by his own artistic practice, the Zurich-based artist and researcher Michael Hiltbrunner has compiled an anthology that stretches back from the present to the time of the earliest recordings, selecting work that shadows his own preoccupations with repetition and with the original and the 'copy' whether articulated through the dynamic process of recording or through notation, synthesization or instrumental adaptation.
Further infomation on The Voice and its Double
Member Profile: Tomoko Hojo
Tomoko Hojo is an interdisciplinary artist and researcher working within the field of experimental music and sound art. Through performing historical avant-garde musical works, her practice involves site-specific sound work, referring to archival materials, field recordings and storytelling. In 2015 Hojo completed two masters degrees in Sound Arts at the London College of Communication and in Creativity of Arts and the Environment at Tokyo University of the Arts. Her time as Visiting Reeesearcher at CRISAP was supported as part of an Overseas Research Fellowship supported by Pola Art Foundation.
Further infomation on Tomoko Hojo
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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