Sound I’m Particular


The Sonic Art Research Unit (SARU) presents Sound I’m Particular, a series of free lectures held at The Old Fire Station, Oxford. The evening events take place once a month between October 2015 and June 2016, 7.30-9pm.

SARU provides a forum for dialogue between the fields of Composition and Sound Art; including acousmatic, collaborative, electroacoustic, experimental, interdisciplinary and site-specific practices alongside engagement with field recording, and soundscape studies.

Sound I’m Particular provides a forum to discuss and interrogate listening as a subject, and explores the various guises of contemporary listening practices.

Curated by Patrick Farmer.


5 April Marie Thompson The Noise That Doesn’t Need Me

Marie is a Lecturer in Lincoln School of Film and Media. She teaches on cultural, critical and media theory modules as part of Lincoln School of Film and Media’s undergraduate and postgraduate degree programmes.

Marie’s research centres on the affective, material and gendered dimensions of sound, noise and music. In 2014, she completed her PhD in Musicology at the International Centre for Music Studies, Newcastle University. Her thesis, Beyond Unwanted Sound: Noise, Affect and Aesthetic Moralism, uses affect to rethink the correlation between noise, ‘unwantedness’ and badness so as to more fully allow for noise’s use as a musical resource. Marie is the principal editor of Sound, Music, Affect: Theorizing Sonic Experience (Bloomsbury, 2013) and has published a number of chapters and articles on intersections of noise and notions of femininity.


March 1 Holly Pester The Productive Sonics of Daydreaming

This paper will explore the strange auditory hallucinations we hear when in slumbering states between wakefulness and sleep. To what extent are these sounds experienced as our making and our attributes? Hypnagogia is therefore proposed as a space of radical research, where voices are heard as outside us, whilst producing a method through which we can re-understand our language and the sound of it.

February 2 Alice Butler Barf Talk

In this live talk (about texts that began as live talks), Alice Butler will be speaking about what it means to ‘barf’ in writing, and how this peculiar impulse to ‘purge’ corresponds with particular instances of feminist performance art. To barf is to release, let go, and revolt. It is to write (but also speaker and perform) the unmediated body in sounds and splutters: corporeal noise.

January 5 David Stent Sound Observatory: On Ben Rivers’ Two Years at Sea

An illustrated talk that takes as its starting point a short sequence from the 2011 film, Two Years at Sea, directed by Ben Rivers. Through a process of hyper-speculative analysis, the talk will attempt to position the sequence in the context of extended thoughts on sound, image, writing, sustained attention and perception.

November 27 Will Montgomery Field Recording and Poetry

Will Montgomery will discuss the relationship between field recording and poetry, with a particular focus on Susan Howe’s collaboration with David Grubbs and recent work by Michael Pisaro and Manfred Werder.

Montgomery is a senior lecturer in poetry and poetics at Royal Holloway, University of London. He is the author of a monograph on Susan Howe, and is co-editing a collection of essays on field recording and literature. He has released a number of audio works on labels including Winds Measure, Organized Music from Thessaloniki, Entr’acte and Every Contact Leaves a Trace.

October 11 Daniela Cascella Mediums and Poets: Imaginative and Sensory Murmurs

Mediums and Poets is a temporary arrangement of words and sounds constructed by echoes, assonance, contrast, pun and rhyme, where listening becomes a way of framing and presenting words in the present, and of making them present.

Daniela Cascella is a London-based Italian writer working on sound and literature, across fiction and criticism. She has published two critically acclaimed books in English, F.M.R.L. and En Abîme published by Zero Books. She is Assistant Professor in Writing, MA Fine Art, Academy of Art and Design, Bergen and Associate Lecturer in Sound Arts, LCC, London. She initiated and curates the LYD Writing Research Residencies at Lydgalleriet Bergen and co-curates this year’s Projekt Art Writing festival in Aarhus. Her texts have appeared in art, music and literary publications such as The Los Angeles Review of Books, Gorse Journal, The Wire, Frieze, Music&Literature and The Journal of Sonic Studies.

October 6 Sarah Hughes Collapsed Points For Living In

For this first event, Sarah Hughes will talk about her current work, discussing her interest in visual arts, writing, sound and politics – all viewed from the perspective of composition.

Sarah Hughes is a British artist, composer and performer, producing work that explores the boundaries of interdisciplinary practice, often moving between sculpture, installation, composition and music. Hughes is the co-founder of Compost and Height. She is also co-editor of the journal Wolf Notes, and co-founder of BORE, a publication dedicated to experimental text-based and graphic scores.

Hughes’s work has been exhibited and performed internationally, including at South London Gallery, London; Supplement, London; V22, London; Sydney Non Objective, Australia; Oriel Davies, Wales; Center for New Music, San Francisco; Constellation, Chicago and The Wulf, Los Angeles.

She is composer-in-residence at South London Gallery 2015-16.

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