Lucy Harrison

May 2014 § Leave a comment

That I will do my best… ‘That I Will Do My Best…’
The development and delivery of an interactive sound installation
28th March @ 5.00pm

HARRISON-Lucy

Developing a sound installation for a for a non-arts event presents a unique number of aesthetic challenges relating to audience expectation and experience as well as the expectation of the event coordinators. These challenges must be balanced with the practical considerations regarding the space available and how the art will be consumed and can often create conflict with personal aesthetic decisions.

This presentation will look at these challenges using as a case study a recent interactive installation created for a Girlguiding event at Alexandra Palace. This was a large-scale exhibition style event for Girlguiding members aged five through to adult. The wide range of ages attending, as well as the large numbers and varied experience of the potential audience created an interesting challenge in the development and delivery.

The presentation considers the creative process when developing sound art for a non-arts event including the collaborative process of working with events coordinators to fulfill the brief for the event. It follows adjustments that were made to how the work was presented over the weekend to incorporate and react to the challenges of the space and audience expectations as well as discussing how the work began to take on unexpected addition functions through user interaction.

Brief Bio
Lucy is currently working towards a PhD in composition investigating interaction and sound design supervised by Brian Lock having previously gained a Master’s in composition from Durham University. She has produced immersive, interactive installations for school settings and large scale events, most recently as part of Girlguiding’s 2014 World Thinking Day celebrations at Alexandra Palace. Other work include sound design for theatre, including site specific work as part of Royal Holloway’s Mariam Project, led by Elizabeth Schafer, and The Massacre by Elizabeth Inchbald. As part of the Mariam Project she created an audio tour, with director Rebecca McCutcheon for the Burford festival 2013. Lucy is part of Written and Composed, a collaborative group of composers and writers where she has been working on science fiction sound design with playwright Susan Gray. Future work for 2014 will include sound design for site specific science fiction theatre and an immersive audio tour.

Examples of Lucy’s work can be found at laharrisonmusic.co.uk and regular updates on compositions as they are being developed can be found on Twitter at @laharrisonmusic

Joe Thomas

May 2014 § Leave a comment

The City and The Other
Foreign and familiar experience in the works of David Peace – ‘Anti-crime’, transnational writing, ideology and the city voice
28th May @ 6.00pm

THOMAS-Joe

I’m looking at the Fiction of David Peace and, specifically, representations of the city in his work. Peace told me that when he wrote the first two books in his Tokyo trilogy he had a note pinned above his desk that said: ‘anti-crime’. I will explore the implications of this and how it connects to the ways in which Peace creates and resurrects the cities in which he sets his work. His novels cover a fascinating array of fictionalized, real crime events placed in city contexts. The Tokyo Trilogy recreates occupied, post-war Tokyo and explores problems of identity, struggle and defeat. The Red Riding Quartet addresses the notorious crimes of the Yorkshire Ripper and the endemic corruption of the Yorkshire Police and the consequential societal trauma. Both sets of works make key use of the city context and are valuable as an insight into transnational writing: how Peace mixes dialect and language to produce an authentic vision of a city and the visceral impact of the staccato, repetitive prose to heighten the atmosphere. Peace has spoken of his belief that crime fiction is, in essence, political writing, as the genre has the tools to deconstruct society’s anxieties at all social levels. Arguably, through this immersive approach, he has translated a ‘conservative mode of writing…into a postmodern idiom radically informed by the strategies of literary and artistic modernism.’ (Charles.)  Indeed, his tackling of the ‘cultural dislocation faced by the émigré writer’ (Hart), Peace offers much for the transnational writer.

Brief Bio
I was born in London, studied History at Oxford, then lived in São Paulo for almost ten years. I’ve worked in education for most of my adult life.
Blog: avenidabrasilblog.com
Twitter: @AvBrasilBlog

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