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: Not for Human Consumption

An online exhibition curated by Julian Weaver for CRISAP in 2012. This exhibition showcases a collection of sonic phenomena, tests, by-products and compositions, from the inaudible to the barely registered, the overheard to the impossibly loud, that challenge our, self-given, position at the centre of sonic events. Not for Human Consumption draws together scientific projects and artistic works – including mosquitoes, brain stems, train motors, black holes, hard drives, voibots and electron microphones - that point to sound worlds where objects other than ourselves may be the recipients. Not For Human Consumption is still available to visit online.
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Member Profile: John Wynne

Dr John Wynne’s diverse, research-led practice includes large-scale sound installations in galleries and public spaces, delicate sculptural works, photographs that reproduce sound, flying radios and award-winning ‘composed documentaries’ that hover on the borders between documentation and abstraction. His Installation for 300 speakers, Pianola and vacuum cleaner, developed during an AHRC-funded research residency, became the first piece of sound art in the Saatchi collection and won him the 2010 British Composer Award for Sonic Art. His work with endangered languages includes a project with click languages in the Kalahari Desert and another with one of Canada’s indigenous languages, Gitxsanimaax.
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Blog: Review - The Bloomsbury Handbook of Sound Art

"It deserves a wide and engaged readership, for this is an important collection of curated essays that drives the debates around sound art into new territories. Its focus on sound as an operative force that might hold power to account makes it that rare thing, a most timely textbook."
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