Mark Peter Wright

Post-doctoral Researcher 'Listening across Disciplines II'

2019 – present

Completed PhD Student

2011 - 2015

Mark Peter Wright is an artist and researcher working at the intersection of sound, ecology and aesthetics. His practice navigates the mediated constructs bound into any process of capture and framing. Questions that drive his work include: what sensory aesthetics might be gleaned from listening with environments? What type of knowledge exists within the materiality of sonic mediums and how do we listen beyond the human?

Wright works across installation, performance and radio as well as academic platforms such as journal writing and conference speaking. He is committed to experimental forms of artful pedagogy and the importance of co-constructed learning. With Helena Hunter he works across art, science and technology as part of a collaborative project called Matterlurgy. With Salomé Voegelin he co-convenes Points of Listening, an ongoing series of public activities investigating collective listening and sound making.

He has presented work over a variety of international institutes and galleries including the ICA, Flat Time House, GV Art, IMT Gallery, Platform A, MIMA, The Showroom and TATE [UK], CCA [Scotland], Museum of Contemporary Art [Italy], Lydgalleriet [Norway] and New York Public Library [USA], Bòlit Contemporary [Spain] and HIAP [Finland]. Lectures, workshops and papers have been presented at the Critical Media Lab [Switzerland], Harvard University [USA], University of Copenhagen [Denmark], University of Stavanger [Norway], Arts Catalyst, Central St Martins, Goldsmiths University, Parasol Unit, South London Gallery and Yorkshire Sculpture Park [UK]. Peer reviewed articles include writing for the Journal of Sonic Studies, Evental Aesthetics, Sensate Journal Harvard, Leonardo Music Journal, Continent Journal and Interference Journal.



Contact Zones and Elsewhere Fields: The Poetics and Politics of Environmental Sound Arts


How is agency distributed “in the field” and how can the practice of field recording critically manifest the relationship between humans and non-humans?

This practice-based PhD examined the poetics and politics of listener-subject relations within environmental sound art practices. Employing theoretical critique from postcolonial studies and new materialism, I proposed a hybrid conceptual framework that foregrounded issues relating to ethics, materiality and agency. These areas were examined through practice by converting “the field” into a collaborative and contested arena for intervention and performance, which I call the “Contact Zone”. The result was a unique and formally diverse body of work that critiqued and re-imagined the ontological foundations of field recording whilst radically challenging aesthetic modes of documentation and production.

Funded by the Arts and Humanities Research Council.