|The shadow on the screen: Yvonne Salmon at ASLE|
The Alchemical Landscape panel involved presentations by Phil Legard and the project director Yvonne Salmon. The session was chaired by James Riley. Please see below for the paper titles and abstracts. Many thanks to Dr. Jenny Bavidge for the invitation.
The Alchemical Landscape
A panel and discussion session covering the work of the recently launched research project: The Alchemical Landscape.
Yvonne Salmon (
, Project Director) University of Cambridge
The Alchemical Landscape
An increasing number of writers, artists, musicians and film-makers are re-investing the landscape with esoteric and mythic imagery. From the revival of ‘Folk Horror’ to the cross-over between magical and artistic practice, this ‘enchanted’ representation of the rural works as both a link to the past and an articulation of pressing contemporary concerns. This paper will briefly map the creative, aesthetic and political implications of this ‘geographic turn’.
Phil Legard, (
) Leeds Beckett
The Bright Sound Behind the Sound: Real-World Music, Symbolic Discourse and the Foregrounding of Imagination
This paper responds to a recent article by American sound artist Kim Cascone in which he asserts that the recent trend for the presentation of environmental recordings as ‘sonic art’ is crucially lacking in some form of ‘soul’ or vitality. Cascone suggests that it is the responsibility of an artist working with real-world sounds to enter a more imaginative engagement that precedents within the field (and within the wider field of sonic arts in general) have historically presented. The paper briefly explores historical impulse to deprecate the importance of imagination, along with the imaginative implications of discourse around what
calls ‘real-world music’. From here, we explore the relationship between
imagination and sound in two pieces of sonic art and argue that one response to
Cascone’s call for an imaginative turn can be found within the idea of the
symbol as codified in Romantic and ‘traditional’ poetic discourse (after
Kathleen Raine). The paper explores the way in which a cultivation of an
‘imaginative perception’ can be used to define, reveal or elucidate such
symbols in a compositional context and relates the creative and interpretive
use of ‘sound-symbols’ to both Voss’ methodology of the imagination (2009) and
Thomas’ multidimensional spectrum of imagination (2014).