Skip to main content

In Environments: The convergence and divergence of practice

  • Teresa Connors (a1) and Andrew Denton (a2)

This article explores our audiovisual collaborative outputs and the methods employed to negotiate converging and diverging creative directions in the production of artistic works, in the context of philosophies that influence our thinking-making processes, as well the engagement with new modes of artistic practice. A key feature connecting our collaborations is site-specific field recordings of audio and visual materials. Our work has spanned Canada, the United States and New Zealand, producing a catalogue of works that are intrinsically linked to geographic and everyday phenomena. To support our discussion of the creative process, we critique one recent work, Aspects of Trees (2013, 2015), as a case study that synthesises concerns associated with collaboration, while also illustrating the recent sharp turn in our individual practices. The outcome is a reorientation of our thinking-making procedures, including ideas of subjective experiences of time, place and the agency of human and non-human bodies.

Corresponding author
Hide All
Bennett, J. 2010. Vibrant Matter: A Political Ecology of Things. Durham, NC: Duke University Press.
Bennett, J. 2015. Systems and Things. On Vital Materialism and Object-Oriented Philosophy. In R. Grusin (ed.) The Nonhuman Turn. Minneapolis, MN: University of Minnesota Press.
Brinkman, D. 2012. Editorial. Silviculture Magazine Spring: 68.
Chion, M. 1994. Audio-Vision: Sound on Screen, ed. and trans. C. Gorbman. New York: Columbia University Press.
Connors, T. 2013. Multimedia Collaboration as Art Practice. Master of Music in Composition, The University of Waikato.
Connors, T. 2015. Audiovisual Installation as Ecological Performativity. Proceedings of the 21st International Symposium of Electronic Art (ISEA2015), Vancouver.
Cox, C. 2011. Beyond Representation and Signification: Toward a Sonic Materialism. Journal of Visual Culture 10(2): 145161.
Dean, R. 2003. Hyperimprovisation: Computer-Interactive Sound Improvisation. Middleton, WI: A-R Editions.
Denton, A. 2009. Motion Parallax. In conjunction with the exhibition Motion Parallax at MIC Toi Rerehiko. Auckland, New Zealand.
Denton, A. 2016. Affective Modes of Cinematic Inquiry: Oil and Subjective Distance in Crude. Philosophy, Activism, Nature 12: 195202.
Dudas, R. 2010. ‘Comprovisation’: The Various Facets of Composed Improvisation within Interactive Performance Systems. Leonardo Music Journal 20(1): 2931.
Freud, S. 1919. The Uncanny, trans. D. McLintock. New York: Penguin Books.
Grusin, R. (ed.) 2015. The Nonhuman Turn. Minneapolis, MN: University of Minnesota Press.
Haraway, D. 2014. Staying with the Trouble: Sympoiesis, String Figures, Multispecies Muddles. Paper presented at Knowings and Knots: Methodologies and Ecologies in Research Creation, University of Alberta, Edmonton.
Johnson, S. 2010. Where Good Ideas Come From: The Natural History of Innovation. London: Allen Lane.
Kim-Cohen, S. 2016. Against Ambience and Other Essays. New York and London: Bloomsbury Academic.
Manning, E. and Massumi, B. 2014. Thought in the Act: Passages in the Ecology of Experience. Minneapolis, MN: University of Minnesota Press.
Massumi, B. 2011. Semblance and Event: Activist Philosophy and the Occurrent Arts. Cambridge, MA: MIT Press.
Morton, T. 2007. Ecology without Nature: Rethinking Environmental Aesthetics. Cambridge, MA and London: Harvard University Press.
Morton, T. 2010. The Ecological Thought. Cambridge, MA and London: Harvard University Press.
Morton, T. 2011. Dawn of the Hyperobjects 2. (accessed 21 July 2015).
Morton, T. 2013a. Hyperobjects: Philosophy and Ecology after the End of the World. Minneapolis, MN: University of Minnesota Press.
Morton, T. 2013b. Realist Magic: Objects, Ontology, Causality. Ann Arbor, MI: Michigan Publishing, Open Humanities Press.
Myers, N. and Dumit, J. 2011. Haptic Creativity and the Mid-Embodiments of Experimental Life. In F. E. Mascia-Less (ed.) A Companion to the Anthropology of the Body and Embodiment. Oxford: Blackwell.
Pelletier, J.-M. 2009. Perceptually Motivated Sonification of Moving Images. Paper presented at International Computer Music Conference, Montreal, Canada.
Rancière, J. 2008. Aesthetic Separation, Aesthetic Community: Scenes from the Aesthetic Regime of Art. Art & Research: A Journal of Ideas, Contexts and Methods 2(1): 115.
Rancière, J. 2010. Dissensus: On Politics and Aesthetics, trans. S. Corcoran. London: Continuum.
Riggs, R. 2010. Strange Geographies: Bombay Beach. (accessed 20 July 2014).
Roads, C. 2001. Microsound. Cambridge, MA: MIT Press.
Salter, C. 2015. Alien Agency: Experimental Encounters with Art in the Making. Cambridge, MA: MIT Press.
Stengers, I. 2005. An Ecology of Practices. Cultural Studies Review 11(1): 183196.
Tarkovsky, A. 1986. Sculpting in Time. Austin, TX: University of Texas Press.
Truax, B. 2015. Paradigm Shifts and Electroacoustic Music: Some Personal Reflections. Organised Sound 20(1): 105110.
Truax, B. n.d. Convolution. (accessed 1 August 2016).
van Dooren, T. 2014. Flight Ways. New York: Columbia University Press.
Recommend this journal

Email your librarian or administrator to recommend adding this journal to your organisation's collection.

Organised Sound
  • ISSN: 1355-7718
  • EISSN: 1469-8153
  • URL: /core/journals/organised-sound
Please enter your name
Please enter a valid email address
Who would you like to send this to? *


Full text views

Total number of HTML views: 82
Total number of PDF views: 9 *
Loading metrics...

Abstract views

Total abstract views: 57 *
Loading metrics...

* Views captured on Cambridge Core between 26th December 2017 - 19th March 2018. This data will be updated every 24 hours.