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Creative Research in Sound Arts Practice | UAL research centre, dedicated to the exploration of the rich complexities of sound as an artistic practice

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Sound Arts Guest Lecture Series | Francesca Ceccherini
Thursday 22nd October 2.30pm - 4.30pm GMT

This week we continue our Autumn Term Programme of Sound Arts Guest Lecture Series presented by LCC Sound Arts and CRiSAP

Convened by @annie_g0h with support from the Course Support Admin and Sound Arts Tech teams.

Thursdays at 2.30pm-4.30pm (UK time)
1 October – 10 December
• Hannah Catherine Jones • Flora Yin Wong • Alejandro Albornoz • Francesca Ceccherini • Pedro Oliveira • Kersten Glandien • Rose Kindred-Boothby • YATTA • Stanley Schtinter • Hutch Demouilpied •

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UAL students and staff: In person, Lecture Theatre B, London College of Communication

External Guests: via livestream. Register on Eventbrite. Link in bio and at
https://www.eventbrite.co.uk/e/lcccrisap-sound-arts-guest-lecture-series-autumn-term-2026-tickets-2000272493875?aff=SOCIALS
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Francesca Ceccherini is a curator and PhD candidate in Visual and Media Studies at IULM University in Milan. Her research investigates how artistic practices engage with trauma, and how listening can operate as a radical form of repair. She is the founder of OTO Sound Museum in Zurich, where she has been developing exhibition programmes bringing visual arts, sound practices, listening, and research into dialogue. She is also a member of the curatorial collective Zaira Oram, with whom she develops projects investigating memory and identity. Her curatorial practice spans urban and institutional contexts, both locally and internationally. Recent projects include Rituals of Repair, developed within Ibrahim Mahama’s Parliament of Ghosts at the Kochi-Muziris Biennale, and Eart_ض, a curatorial research project exploring sound as a methodology of knowledge across Switzerland and Morocco.
More recently, she has undertaken a research visit at SARAI/CSDS – Centre for the Study of Developing Societies in New Delhi.

Photo credits: Axel Crettenand A upside down photo of two people reading off a sheet, stood in front of a projection of a blurry image

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📀𝟴 𝗢𝗖𝗧𝗢𝗕𝗘𝗥 — 𝗙𝗜𝗘𝗟𝗗 𝗖𝗥𝗔𝗙𝗧𝗜𝗡𝗚 𝗟𝗣 𝗟𝗔𝗨𝗡𝗖𝗛 @ 𝗖𝗔𝗙𝗘 𝗢𝗧𝗢🌲

Mark Peter Wright launches his new LP 𝙁𝙞𝙚𝙡𝙙 𝘾𝙧𝙖𝙛𝙩𝙞𝙣𝙜 on 𝗙𝗹𝗮𝗺𝗶𝗻𝗴 𝗣𝗶𝗻𝗲𝘀.Join us for an evening of field recording, live performance and experimental sound-making at Cafe OTO @cafeotodalston

𝗟𝗜𝗩𝗘:

🎤 Kate Carr
🎤 Lia Mazzari
🎤 Mark Peter Wright
🎤 [something’s happening] — Iris Colomb + Daryl Worthington

Expect transmissions, foley, spoken word, improvisation, intervention and action as the artists blur the boundaries between listening and performance, recorded and live environments.

🌲 Field Crafting explores the critical, playful and pedagogical potential of field recording. The 11-track LP was recorded during one afternoon in a woodland in North Yorkshire, asking:

𝗛𝗼𝘄 𝗶𝘀 𝘁𝗵𝗲 𝗳𝗶𝗲𝗹𝗱 𝗰𝗿𝗮𝗳𝘁𝗲𝗱, 𝗮𝗻𝗱 𝗵𝗼𝘄 𝗱𝗼𝗲𝘀 𝘁𝗵𝗲 𝗳𝗶𝗲𝗹𝗱 𝗰𝗿𝗮𝗳𝘁 𝘁𝗵𝗲 𝗿𝗲𝗰𝗼𝗿𝗱𝗶𝘀𝘁?

📍 Cafe OTO, London
📅 8 October
🎟️ Tickets via @cafeotodalston

📀 Field Crafting is out on vinyl 8 October via Flaming Pines @flamingpines

@k8_carr_ @liamazzari @somethingshappening_band @cafeotodalston @crisapsoundarts

Tag someone you’d bring into the field with you.🌲🎙️👇

#FieldCrafting #FieldRecording #SoundArt #ExperimentalMusic #ExperimentalSound

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Sound Arts Guest Lecture Series | Flora Yin Wong
Thursday 8th October 2.30pm - 4.30pm GMT

This week we continue our Autumn Term Programme of Sound Arts Guest Lecture Series presented by LCC Sound Arts and CRiSAP

Convened by @annie_g0h with support from the Course Support Admin and Sound Arts Tech teams.

Thursdays at 2.30pm-4.30pm (UK time)
1 October – 10 December
• Hannah Catherine Jones • Flora Yin Wong • Alejandro Albornoz • Francesca Ceccherini • Pedro Oliveira • Kersten Glandien • Rose Kindred-Boothby • YATTA • Stanley Schtinter • Hutch Demouilpied •

.....................................................................

UAL students and staff: In person, Lecture Theatre B, London College of Communication

External Guests: via livestream. Register on Eventbrite. Link in bio and at
https://www.eventbrite.co.uk/e/lcccrisap-sound-arts-guest-lecture-series-autumn-term-2026-tickets-2000272493875?aff=SOCIALS
....................................................................
Flora Yin-Wong is a sound artist who uses rudimentary field recordings, granular synthesis, and traditional instruments, underpinned by influences from club culture. Through these disparate elements, her work channels her interest in philosophical and psychological themes such as faith, obsession, and ritual. She has been commissioned by and presented live at international galleries like Palais de Tokyo in Paris, MACRO Roma, Fondation Beyeler Basel, Triennale Milano, Somerset House, The V&A Museum and Cafe OTO London, ISSUE Project Room New York, Volksbuhne Theatre Berlin, and Spielhaus and SHEDHAlle Zurich. Her music has been released on labels like Modern Love, PAN, Shelter Press, and Danse Noire etc. Her record on Shelter Press x INA GRM was developed for and performed live on their 48-channel speaker system in Paris in 2023.

Photo Credits: Sari Okura Alt Text: A photo of Flora stood in a field with orange and purple skies behind.

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I am travelling to Ljubljana next week to do a curatorial performance at
TO)pot Festival: Walking with Silences
September 23-27, 2026
Confectionery and public spaces

The festival will open on September 23rd, at 7:00 PM, with a sound exhibition by Boštjan Perovšek: Inaudible – audible, among bats , a curatorial performance by Salomé Voegelin : no signal, and a concert by Bojana Šaljić Podešva, Matjaž Porovne, Tilen Udovič, Alja Mandič Faganel: Blood is water (with taste).

https://www.cona.si/festival-topot/2026/

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Launch Tour 2026/27

LISTENING GLOSSARY

A book edited by Hannah Kemp-Welch @soundarthannah, touring across the UK and Europe this autumn/winter

📍 9 October — Auris Festival, Manchester (@aurisfestival)
w/ Anton Spice, Kamila Narysheva and Vicky Clarke
📍 13 October — @crisapsoundarts x Cafe OTO, London (@cafeotodalston)
w/ Moushumi Bhowmik, Alice Eldridge, Miriam Elgon, Sasha Engelmann, Lucia Farinati, Annie Goh, Suri Jiang, Hector MacInnes, Eleanor McDowall and Luigi Monteanni
📍 18 October — @Lydgalleriet, Bergen
📍 26 November — @southbankcentre, London
w/ afromerm and Jess Rowley, Anna Clock and Shortwave Collective
📍 9 December — KASK, Ghent (@the_art_of_resonance @schoolofartsgent)
w/ Melissa Ryke
📍 10 December — @rile.books, Brussels
📍 12 December — @san.serriffe, Amsterdam
📍 13 December — @worm.rotterdam, Rotterdam
w/ Cannach MacBride and Ash Kilmartin
📍 20 January 2027 — @freudmuseum, London
w/ Anouchka Grose and Angie Voela

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We are happy to announce the second session of our Online International Reading Group for Listening - co-hosted with CRiSAP @crisapsoundarts and Mark Peter Wright

Hope to see you the 27th of October 6-8pm (GMT)

Sign-up via the link in bio to receive the link for the session two days before. (If you have already signed-up; all good, and you likely already know about the date, reading etc…)

Hosted by:
Mark Peter Wright is an artist, researcher and writer. His practice mixes critical theory, sound and experimental pedagogy across installation, publication and performance. Wright is the director of CRiSAP (Creative Research in Sound Arts Practice), an interdisciplinary research centre dedicated to sound arts practice and theory based at the London College of Communication, UAL. His recent book Listening After Nature: Field Recording, Ecology, Critical Practice is published by Bloomsbury (2022/23).

CRiSAP (Creative Research in Sound Arts Practice) is a world-leading interdisciplinary sound arts research centre arts based at the London College of Communication, University of the Arts London. It brings together students at all levels with research-active academics, practitioners, and global research projects. Over the last two decades, CRiSAP has played a key role in establishing sound and listening as vital scholarly fields within and beyond the arts and humanities.

We will be reading:
Giving and Taking Notice by Dylan Robinson, 2022

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Looking forward to do a curatorial performance: sonic localities on uncertain grounds
at Translocal Sound

A transdisciplinary symposium on sound research, spatial theory and acoustic ecology. https://www.hkb.bfh.ch/en/news/events-for-specialists/forschung-translocal-spaces-between-listening-ecology-and-sound-art/

10.09.2026 until 12.09.2026 – HKB, Papiermühlestrasse 13a/d, 3014 Bern

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Thank you so much to @escdotdot for introducing all these cool humans and amazing artists to our space. Please come back ~ 🍦🥭

This visit was part of a collaboration between CRiSAP @crisapsoundarts and The University of the Philippines, with representatives from Hong Kong Baptist University and The Chinese University of Hong Kong.

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I will be giving a keynote at this years Royal Musical Association, Music and Philosophy Study Group annual conference. Taking Place at Dublin City University.

I will ask:

Can we play anti-fascist music. Together.
Or are authoritarians better musicians?

https://musicandphilosophy.ac.uk/2026/04/03/our-programm-for-mpsg2026-is-up/

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Happy to go to and be part of discussing the more-than-human community toolkit book launch this afternoon 02.06.2026

launched by The Design Societies Research Unit Goldsmiths, University of London.

🕘 16:00 – 18:00 pm
🗓️ Thursday 2 July 2026
📍Richard Hoggart Building Room 137a, Goldsmiths University of London, Lewisham Way, SE14 6NW

MTH-CTK is an open-source public engagement toolkit that uses low-cost imaging and audio technologies to empower communities as agents of pro-environmental and pro-social behavioural change 🌳 🎧 🦐 🔬

The manual brings together essays, documentation, ideas, and reflections on the research activities undertaken in 2025 by members of the project team. Mike Thompson, Tobie Kerridge, and Kevin Logan (Goldsmiths) will be joined by Victoria J. Burton (Natural History Museum) and Professor Salomé Voegelin (London College of Communication, UAL) for a panel discussion chaired by Alex Wilkie.

MTH-CTK is a collaboration between the School of Design at Goldsmiths, University of London; the Angela Marmont Centre for UK Nature at the Natural History Museum; Lewisham Council; and Phoenix Community Housing. The project is supported by the Arts and Humanities Research Council’s (AHRC) Design Accelerator grant.

All are welcome!

✉️ Questions about the event: dsru@gold.ac.uk

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Despite the heat I look forward to travel to Esch, Luxembourg, to present a short tune in and host a listening session on SOUND MATTERS – Session 1 – Qu’est-ce que nous n’entendons pas ? What are we not hearing?
in the context of « état bruit »
at the Konschthal Esch this Sunday 28.06 at 16:00
I will play sounds to cool us down See less

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It was a real honour to be invited by @ecka_mordecai to give an artist talk at the University of the Arts London, London College of Communication (@crisapsoundarts ).

I’m deeply grateful for the opportunity to reflect on the past decade of my creative journey. from music making to live performance, and from performing with the theremin to understanding performance not as an act of output, but as a continuous process of auditory tracking.

I shared works made both independently and collaboratively, spoke about the ways the pandemic reshaped my approaches to making, and reflected on perception, thresholds, and the questions that continue to accompany my practice: Why do I make? What am I making for?

The talk wandered a little, much like my own creative process and I ended up not having enough time to talk about my actual research on tacit listening. Time and boundaries often blur; linear thought becomes interrupted. In many ways, I allowed that internal disorder to inhabit the talk itself, where language occasionally broke and drifted.

I spoke about my practice as a perceptual system and a condition-based practice, which is not centred on any particular medium, but on the construction of perceptual conditions. I spoke about ideas arising and perishing, about freshness and decay, condensation and dissipation. In this ongoing process, I find myself continuously becoming both cause and effect, continuously becoming the condition which allows this very moment to happen.
In art making and performing, it is difficult to fully control anything. What remains in this relational world is continuous negotiation, adjustment, and presence.

And still, we have listening.

We can still listen.

Not only to the echoes of sounds already made, nor only to futures not yet heard, but to this moment.
right here,
right now.

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