At the April School of Sound, James Spinney and Peter Middleton present the thinking and research behind their acclaimed film, Notes on Blindness. In addition to its arresting use of sound and image, the film delves into sometimes unnerving notions of human perception. [more]
For the 12th edition, artists, practitioners, creatives, teachers and students will gather from around the world for four days of talks, presentations and discussions about the creative use of sound across media and the arts.
The programme includes
Mychael Danna, composer
Patsy Rodenburg, Master Voice and Shakespeare teacher
Sarah Turner, filmmaker and lecturer, director of Public House
Peter Middleton and James Spinney, directors of Notes on Blindness
Hans Peter Kuhn, sound artist and composer
Hildegard Westerkamp, sound artist, composer and acoustic ecologist
Werner Cee, sound artist, presents ‘I Used to be a Painter’
Adam Roberts, writer and filmmaker, presenting the work of Chantal Akerman
George Home-Cook, author of Theatre and Aural Attention: Stretching Ourselves
Julian Henriques, ‘Thinking Through Sound – and Learning from Jamaican Bass/ Base Culture’- reggae sound systems and the embodiment of sound
Stephen Deutsch, composer, author and sound designer
Gideon Koppel, filmmaker and artist, director of sleep furiously
Mark Underwood, sound designer
Honor Beddard, curator of Making Nature at the Wellcome Collection
and Piers Plowright, radio documentary and features producer.
22 – 24 April 2017
Whitechapel Gallery and Goldsmiths
The Sound of Memory Symposium explores creative works and ideas situated at the interface of composers working in acoustic ecologies and artists working within social ecologies, where the primary engagement is a form of sonic ethnography. The overarching thematic is an exploration of how individual and cultural memory resonates in the shaping of social space. The Symposium will explore the broad domain of acoustic ecologies and soundscape’s engagement in place. [Details of programme and instructions for submissions]
The BFI Shop will once again be running a bookstall at the School of Sound. They will stock a wide range of books and DVDs relating to the speakers and the wider areas of interest covered in the talks.
The evening before the School of Sound, you can see the documentary, Asunder, at the Regent Street Cinema, the first theatre in Britain to show moving pictures.
Asunder tells the story of what happened to an English town during the First World War, with almost all of its men fighting abroad and its women and children left behind. The North East was in the front line, thanks to its shipyards and munitions factories.
A film by Esther Johnson with a soundtrack composed by Sunderland’s Mercury-nominated Field Music and Newcastle’s Warm Digits, performed with the Royal Northern Sinfonia and The Cornshed Sisters. [details]
A free exhibition at Wellcome Collection
1 December 2016 – 21 May 2017
Kicking off a year-long exploration into our relationship with nature, this major exhibition examines what we think, feel and value about other species and the consequences this has for the world around us. It brings together over 100 fascinating objects from literature, film, taxidermy and photography to reveal the hierarchies in our view of the natural world and consider how these influence our actions, or inactions, towards the planet. [more]
Honor Beddard, curator of Making Nature, is one of the featured speakers at the School of Sound, taking part in the ‘What is Real?” session on Wednesday, 19 April.
GEORGE HOME-COOK is a performance practitioner-researcher and freelance lecturer, based in the UK. His research in theatre phenomenology, theatre sound and the aesthetics of atmosphere, has received international recognition and has been translated into French and German. George is the author of the critically-acclaimed monograph, Theatre and Aural Attention, which was nominated for the Joe A. Callaway Prize for Best Book on Theatre and Drama 2014-2015. The paperback version will be published in March.
Expanding on his theories of designed sound, George explores the act of listening in theatre and ideas about aural attention.
Lecturer in Film
Based in the heart of Scotland’s historic and culturally rich capital city, the Lecturer in Film will give you the opportunity and support to become a pioneer in your chosen field, working for a University with an exciting strategy, ambitious for its staff and students.
Our Film school is a well-established centre of excellence being one of only three prestigious Film Academies in the UK with courses accredited by Creative Skillset. [more]
You can now listen to some of the School of Sound’s previous lectures for the first time. We have added an ARCHIVE section to our website featuring recordings of some of the captivating presentations from the past eleven School of Sound symposia.
We have uploaded nine talks from 1998-2015. More will be added in the coming months along with video interviews we’ve produced.
These lectures cover an amazing range of ideas and perspectives, demonstrating the depth of thought, reflection and experience communicated at these meetings. [more]
Dickie Beau has gained notoriety as a pioneer of “playback” performance: the uncanny embodiment (or “re-memberment”) of found sound. He is an astounding performer and mesmerised the 2015 School of Sound audience. Also on the programme was director Peter Sellars who Dickie ‘channels’ in his new video, The Olden Lobes Speech at https://youtu.be/bIM1CPQD_4g, where he lip-syncs to Peter’s talk.
To see more of Dickie’s work, go to Dickie’s website, dickiebeau.com, or try to get to one of his upcoming March performances at the Almeida Theatre in London or at the In Between Time Festival in Bristol (9 Feb only).
Sarah is an artist, filmmaker, writer, curator and academic. Her feature films include Ecology, Perestroika (which featured in Tate Britain’s major survey, Assembly), and Perestroika: Reconstructed, conceived and executed as a gallery work.
Sarah will present her award-winning documentary, Public House, and the notions of cultural memory and sonic ethnography it embraces. [more]
The Sound of Memory Symposium, co-curated by Sarah, takes place in conjunction with the School of Sound on 22-24 April. See post below.
Prof Julian Henriques presents, ‘Thinking Through Sound – and Learning from Jamaican Bass / Base Culture’.
Julian is convenor of the MA Scriptwriting programme, director of the Topology Research Unit and a former Joint Head of the Department of Media and Communications, Goldsmiths, University of London. Before Goldsmiths, Julian ran the film and television department at CARIMAC at the University of the West Indies, Kingston, Jamaica. [more]
The composer, sound artist and acoustic ecologist, Hildegard Westerkamp, will make her second appearance at the School of Sound in April.
Westerkamp’s work focuses on listening, environmental sound and acoustic ecology. She was a member of the original World Soundscape Project, working with R. Murray Schafer. By focusing the ears’ attention to details in the acoustic environment, her compositional work draws attention to the act of listening itself and to the inner, hidden spaces of the environment we inhabit.
In discussions of sound or sound design, the voice is often ignored or placed within more theoretical contexts. But it’s a topic that has been addressed by School of Sound speakers as diverse as David Lynch, Imogen Stidworthy and Piers Plowright who explored notions of narrative, emotion, space and attention, through the subtleties of human speech.
We’ll return to this subject with Patsy Rodenburg, recognised as one of the world’s leading voice and acting coaches. [more]
Theatre director, actor and teacher Catherine Alexander will speak at the 2017 School of Sound, being held in London from 19 – 22 April.
Catherine presents Sound, Acting and Theatre Making: Using sound as part of actor training, text analysis and theatre devising processes.
“In theatre we can become over reliant on visual elements storytelling and spoken text. I have been exploring how to use sound with actors to discover and communicate dramatic, literal, dynamic and emotional spaces as part of an embodied ‘felt’ experience.”
Mychael Danna, the Academy Award-winning composer known for his blending of non-Western music with orchestral and electronic music, is the latest addition to the 2017 School of Sound programme. Mychael won the Oscar for his score to Ang Lee’s Life of Pi. He is also known for his many collaborations with Atom Egoyan, having written the music for Ararat, The Sweet Hereafter and Exotica. Other credits include Moneyball, Capote, Monsoon Wedding, Vanity Fair, Little Miss Sunshine and The Good Dinosaur.