Lines of Communication
Notes
Speech, VoiceSmall publication part of Lines of Communication an artist’s research residency based in the Speech and Language Therapy Dept, Addenbrooke’s Hospital, Cambridge
| Artist / Author | Caroline Wright |
|---|---|
| Reference | P0736 |
| Date | 2005 |
| Type | Publication |
Keywords
Similar items
Noise, Water, Meat: A History of Sound in the Arts
This interdisciplinary history and theory of sound in the arts reads the twentieth century by listening to it–to the emphatic and exceptional sounds of modernism and those on the cusp of postmodernism, recorded sound, noise, silence, the fluid sounds of immersion and dripping, and the meat voices of viruses, screams, and bestial cries.
Sonic Somatic: Peformances of the Unsound Body
Investigates sound art and its various manifestations through historical, theoretical, polemical and critical analyses of artistic, musical and literary works
Say the word and MOVE
Terry O’Connor, Wendy Houston and Joe Kelleher give an insight into the working process of the collaborative project “Say the word and MOVE”, in which they explore relations between speaking and moving, language and movement.
A Girl Skipping
A Girl Skipping was devised and premiered in 1990.
Performing Idea: Dialogue Project: Moving - Writing
Performance Matters Performing Idea Dialogues,Toynbee Studios 04.10.10:Choreographer Jonathan Burrows and writer and curator Adrian Heathfield have developed a dialogue around the relationship between writing and dancing. They were interested in exploring the creative tension between the distinctive affects of embodied actions and spoken words, investigating their different roles in the making and receiving of meaning. They were fascinated by those moments of intensity – unforgettable yet unspeakable – where something of life is disclosed between sense and sensibility. What are the relative weights of gestures and words in a performance space? How can each open to the other? What place does music occupy in a negotiation between muted movements and sonorous words? What might be some principles of composition for a generative relation between creative writing and choreography?
Fifteen years of Mousonturm
FILED IN PUBLICATIONS AS P1150
