Flanked by stone colonnades, wooden roof beams, and situated, in true Venetian style, on a bed of water – the Gaggiandre is a sound artist’s dream.
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Pandemic restrictions prevented Jónsi (frontman of Sigur Rós) from experiencing firsthand the eruption of Fagradalsfjall, Iceland. He made this work in response.
From the bioelectric bleeps of plants to the intergalactic bloops of colliding black holes, sound gives us new ways to experience the world.
Sound and its subtle, malleable possibilities for interpretation can be a valuable tool for those trying to capture pasts that have been erased, marginalised or forgotten.
Sound, as a still relatively unexplored medium of urban design, provides an obvious starting point in the search for new relationships and identities in the contemporary city.
Communities have an increasing desire to be informed and included in local art, design and infrastructure projects. This has inspired new ways of dealing with noise-afflicted areas.
After travelling through the bush, returning to the cacophonies of the sonic city can be exhilarating. The body is immediately swamped with an energy that speaks of action, progress, and possibility.
Sound art is nothing new. But do we really need it to appreciate the classics?
Liquid Architecture 2014 will take place in various locations in Australia and Singapore from tomorrow to October 11. And, as Australia’s largest sonic arts festival, it raises an obvious question: what…
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Research Fellow, School of Design, RMIT University
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Professor of Music, Bangor University
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Program Manager and Senior Lecturer, Digital Media at RMIT University, RMIT University
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PhD Candidate, University of Tasmania
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Adjunct Research Fellow, Griffith University
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Associate Professor Music Composition, Melbourne Conservatorium of Music, The University of Melbourne
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Lecturer in Broadcast Journalism, Queen's University Belfast