Autumn Leaves - Sound and Environment in Artistic Practice - CRISAP/ Double-Entendre

Autumn Leaves is a book about how sound encounters space and about how that encounter has been made visible, legible and, most importantly, audible.

The book draws together a number of different perspectives - from acoustics to architectural criticism to anthropology and beyond - and places these perspectives in conversation with others developed through creative practice.

Autumn Leaves includes essays by Bill Davies, Tobias Fischer, Steve Goodman, Tim Ingold, Helmi Jarviluoma, Rahma Khazam, Sylvain Marquis, Tom Rice, David Toop, Salome Voeglin and Hildegard Westerkamp.

These essays appear alongside interviews with Peter Cusack, Max Dixon, Christina Kubisch, Alvin Lucier and Chris Watson.

The reach of the book is further extended through the presentation of new translations and selections of the 100 Japanese Soundscapes and the 100 Finnish Soundscapes projects.

The artists whose work is represented in its pages include:
Mira Choi, Jem Finer, Charles Fox, Dan Holdsworth, Zoe Irvine, Cathy Lane, Nicholas Gansterer, Locus Sonus, NYSAE, Aki Onda, Axel Stockburger, the students of Srishti College Bangalore, Goran Vejvoda, Claudia Wegener and John Wynne & Tim Wainwright.

Autumn Leaves is designed by Ian Noble. It is edited by Angus Carlyle and Published by CRISAP & Double -Entendre .

Autumn Leaves is a book project edited by CRiSAP co-director Angus Carlyle. The book, to be published by the exciting French sound art initiative Vibro / Double Entendre, seeks to draw together a number of different perspectives on how the environment is made audible through sound. The perspectives contained in the book are made manifest through more traditional textual analyses, interviews, image-based works (both photography and graphic illustration) and ‘artist’s pages’ (which combine different registers of information).

Among the articles included in the book are a superb deconstruction of the concept of soundscape by anthropologist Tim Ingold; an intriguing analysis of sound from an acoustic point-of-view (or point-of-audition) by Bill Davies; Steve Goodman’s dynamic opening up of city sound to a bass materialism provoked by Greg Lynn’s ‘blob’ architecture; Salome Voeglin’s evocative mapping of sci-fi aesthetics onto the project of acoustic ecology; a wonderful meditation on the heard and the unheard by David Toop; Sylvain Marquis powerfully drawing out the ‘presence’ of Phill Niblock; Rahma Khazam finding new ways of listening through an inspired conceptual conversation between art, architecture and relational aesthetics; and a re-print of Hildegard Westerkamp’s pioneering discussion of soundwalking from 1974.

The reach of the book is further extended through the presentation of new translations and selections of the 100 Japanese Soundscapes and the 100 Finnish Soundscapes projects, both of which offer a stimulating sense of the diversity of responses to differently-located soundscapes.

Interviews in the book include a wide-ranging discussion with Alvin Lucier about his work and working practices; an exploration of Christina Kubisch’s long-standing commitment to teasing out the complexities of the sounds that surround us; Peter Cusack providing an exciting account of his Sound of Dangerous Places project; Chris Watson talking us through his inspirational field-recording; and Max Dixon offering fresh perspectives on how the development of strategies for noise in urban environments meshes policy with research into bio-acoustics, acoustics and creative practice.

Image-based work included in Autumn Leaves ranges from Dan Holdsworth’s haunting representations of anechoic chambers through Charles Fox’s photographs of microphone arrays in the wilderness, Axel Stockburger’s ASCII art evocations of video-game space and Nicholas Gansterer’s intricate diagrams of our heard world.

What remains of the book is devoted to the artists’ pages. In these a whole host of contemporary practitioners spanning the disciplines of graphic design, music, photography, performance and visual art offer their provocative takes on sound and the environment. Here we encounter John Wynne and Tim Wainwright presenting their innovative collaborative work in Harefield Hospital; Aki Onda pursuing his Cinemage project; Claudia Wegener finding poetry in ear- and eye-witnessing; an unpacking of the theories and technologies behind the exciting Locus Sonus audio streams; NYSAE opening up its portfolio of acoustic ecology-inspired activities; Goran Vejvoda mobilising a modular manifesto from his three decades of sound art; the Gruenrekorder label reviewing the thinking behind its 40 releases; Jem Finer show-casing his Score For A Hole in the Ground; Cathy Lane mapping her memories of the Hebrides; Zoe Irvine making an art of places out of abandoned audio tape; and Mira Choi introducing her noise-responsive graphic software.

The book will be accompanied by a compilation of audio work presented by the German sound art label, Gruenrekorder.

The editorial work and its presentation has been a collaborative venture with the designer Ian Noble.

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