Inclusive Improv

FACETS Contemporary Sound Art Exhibition 14th June 2008

A free afternoon of three sonic art installation works all united by the concept ‘identity of space’ running in succession from 3.00 - 6.00 in St Pauls Concert venue. All Welcome.


Jonathon Mcleod

Elision is a sound piece created for St. Paul’s Hall and the ‘Weekend of Speakers’ event. The work is based on the atmosphere, aesthetics and acoustics of the building and perceptions of depth. The intended effect is to give the impression of an amplification of the locations ambience, portrayed in interweaving literal and impressionistic senses.

I would like to thank Lizzie Hayward for her assistance and patience in helping with the organ recordings.


Thanos Chrysakis

Is a multi-channel generative electronic soundscape that is conceived as a sound-installation for different places/rooms. It has been created with the audio programming language SuperCollider version 2.16. The sound material has been created with sound-synthesis, therefore it could be said that each sound became a composed structure. Its overall open-form, emerges from the spatio-temporal interactions and transitions of the different aural fields, in addition with the qualities of the environment.

The primary idea is the perception of a given space through the composed sounds and vice versa.

Tempus Liminal

Sam Horseman

As a concert venue St Paul’s enjoys a clearly definitive purpose housing rehearsals, university concerts and examinations. But what of the identity that is remnant between these timbrally rich and characteristic episodes? One is left with a stark structure redundant of the role once held as a place of worship, although its religious heritage remains visually inescapable within the structure itself. To the occupier it is during these periods that foreboding symmetry and vast space commands with it a need for a vast and foreboding silence. Yet it is the everyday outside ambience spilling into the acoustic environment of St Paul’s that, whilst further highlighting its static nature, robs the building of the silence it so implies.

Tempus Liminal encourages consideration of the dual identities held by St Paul’s. It features on one hand ambient sonic material with a static development and on the other, interjections of material with more timbrally characteristic properties following a more linear sense of sonic development, the relationship between which is neither definable as juxtaposing or symbiotic.

On a broader scale, my work currently concerns the role of the musician/composer as the sonic artist whilst tackling issues of identity within the site-specific.

Thanks go to John Bryan, Bryan Dickson, Ben Lawrence, Pat Allison and Clare Ashton for their kind permission in the use of their music for source material.