Log in
The Research Centre for Creative Research in Sound Arts Practice (CRiSAP) works to develop, extend and support the emerging disciplinary field of sound arts, and has played a role in defining, scoping and shaping contemporary sound arts practice. This case study demonstrates impact on the creative community, museums and galleries, and the general public, with work reaching a wide audience and developing a greater recognition and understanding of sound and sound arts.
Organ of Corti is an experimental instrument by David Prior (Associate Prof. Falmouth University) and Frances Crow that filters the sound around it into new listening experiences. Winner of the `Performing Rights Society (PRS) for Music Foundation's New Music Award' in 2010, Organ of Corti toured England in the summer of 2011. The piece was presented in partnership with nationally recognised regional music festivals reaching an estimated audience of over 400,000 during its tour, both live and via National and International media coverage [Section: 5, Ref:14-23].
Organ of Corti has received recognition from a number of International awards within the disciplines of new music, acoustics and technology [Section: 5, Ref 10-12]. The project has contributed to research within the areas of meta-materials, policy implementation on `soundscape design' and new ways of listening [Section 5, Ref: 5-9]. Organ of Corti has received planning permission for a permanent sound sculpture on the banks of the river Severn in Worcester [Section: 5, Ref: 25].
Sound Diaries impacts through expanding awareness of the roles of sound and listening in daily life. The Sound Diaries website acts as a repository, sketchpad and sandpit for research promoting a principally auditory investigation of the world we live in. Exploring the cultural and communal significance of sounds, Sound Diaries forms a research basis for projects executed both locally and Internationally, in Beijing, Brussels, Tallinn, rural Estonia and Cumbria; within local institutions in Oxford including Schools; and within cultural organisations such as Sound and Music, BBC Radio, Boring 2011 and MoDA (Museum of Domestic Design and Architecture).
This case study demonstrates how new approaches to collaborative sonic arts lead to increased awareness of the role of sound and its relationship to place in everyday life. This new understanding of the aural world resulted in the preservation and presentation of past and present cultural heritage specific to two intergenerational participating communities. The impact of the research is specifically articulated through a community project and exhibition entitled "Sounds of the City" commissioned by the new Metropolitan Arts Centre (Belfast) and funded by the Heritage Lottery Fund in 2012.
The University of York's research in surround sound production, conducted over twenty years, has in recent years been implemented and further developed in The Morning Line, a huge, transportable sculpture by Matthew Ritchie, produced by Thyssen-Bornemisza Art Contemporary (T-B A21). T-B A21 have to date commissioned thirty professional composers and sound artists of international standing to create new works of sound art for the structure, all realised with software systems developed at York. The installation has been exhibited in large public outdoor spaces in European cities between 2008 and 2012. The Morning Line (TML) integrates into contemporary artistic practice the long-term, York-based research uniting sound reproduction technologies and human spatial perception. The research has, in this way, generated new forms of creative practice, transforming the work of a large number of sound artists and, through repeated, open, long-term public exhibition, contributed to public experience and understanding of sound art and audio perception.
Ross Brown's research has been instrumental in shaping theatre sound into a specialist discipline in its own right. It has influenced the practices, organisation and status of sound within professional theatre. Constructing a dialogue with a potentially hostile theatre industry over two decades, Brown's central formulation of a `dramaturgy of sound' has changed the ways in which theatre professionals, independent artists, academics and specialist students think about and work with sound. In doing so it has helped make sound design a more central artistic consideration of theatre production and thus raised its profile in the industry.
David Hendy's 30-part series for BBC Radio 4 (broadcast March-April 2013) and the accompanying book, Noise: A Human History of Sound and Listening, have had two main impacts. In offering a widely disseminated history of sound that places social history at its centre, Noise stimulated public discussion about, and public and personal appreciation of, the role of sound and listening in history and contemporary life, especially with regard to contemporary attitudes to what is and is not counted as noise. Hendy's research on Noise has also materially contributed towards the creation of new artistic artefacts and national cultural resources by supporting and inspiring further creative commissions in sound and in bequeathing to the British Library a new permanent holding of field-recordings.
Plenum is an algorithmic work composed by Rob Godman in 2010 as part of a collaborative art-music installation. It was performed six times between 2010 and 2013 at sound and light festivals in Poland, Estonia and the UK, at the Cambridge Music Festival, and at an Australian contemporary arts venue. Audiences totalling over 240,000 heard the work, with website visitors extending its reach to over 300,000; the Durham Lumiere alone, of which Plenum formed an integral element, created an estimated £4.3 million for the local economy. Festival and arts curators have described Plenum as `thought provoking' and `inspiring'.
In response to many EU directives (e.g. 89/629/EEC, 2002/30/EC), and to the threat of financial penalties, the aircraft industry has long considered it a matter of the utmost importance to develop tools for the reduction of aircraft noise. Chapman's ray theory of aeroengine noise, created and developed in 1994-2000, provided such a tool. The impact of this work has extended through aircraft industry giants such as Rolls-Royce to consumers and the general public worldwide, because of its influence on the design of quieter aircraft.
Following application of the same theory to broadband underwater acoustics, the impact now extends to the government's plans for the next generation of nuclear submarines. This is a £25 billion project to design and build the Successor class, to replace the Vanguard class of Trident submarines. Chapman's ray theory has been used in the current Assessment Phase leading to Main Gate in 2016, when the Government will decide on production.
In research that challenges the dichotomy of music/ noise, Drever has investigated the properties and subjective effects of the high volumes produced by ultrafast hand dryers, finding that it is highly aversive for vulnerable groups including people with dementia, sensory impairments, and autistic spectrum disorders, in some cases exacerbating their social avoidance. These effects have been communicated to the public, industry professionals, and policymakers through a combination of creative art works and presentations of the research findings in varied public settings. They have been widely reported in the international media, via both general interest and specialist publications and programmes. He has worked closely with the UK's Noise Abatement Society and with industrial designers, who have welcomed his input to helping them improve hand dryer design.