Biography

Iain Findlay-Walsh / Klaysstarr is a sound artist and researcher whose work combines field recording and studio production with autoethnographic methods to research personal listening. His practice research explores sonic and spatial perception, music reception, virtuality and selfhood. Outputs include sound installations, multichannel audio works, text scores, and spatial audio pieces for stereo headphones.  Scholarly research engages with auditory reception and perception, first-person field recording, spatiality and virtuality in record production, sonic and textual autoethnography, and sound-based research methodologies.  

Research interests

Research interests:

Sound art, first-person field recording, sonic and textual autoethnography, soundscape composition, personal listening, sound-based research methodologies, experimental music production and composition, auditory immersion, spatiality and virtuality in record production, emerging music formats and technologies.

 

Publications

List by: Type | Date

Jump to: 2025 | 2024 | 2023 | 2022 | 2021 | 2020 | 2019 | 2018 | 2017 | 2016 | 2015 | 2013 | 2012 | 2011
Number of items: 28.

2025

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2025) A Transmutation Music. [Compositions]

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 and Partridge, Tristan (2025) Vectors of novelty: co-composing selves in the terminal present. openwork, (Accepted for Publication)

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2025) Internet pop reception as sonic autoethnography: circulating music, story and self online. In: The Intellect Handbook of Popular Music Methodologies. Intellect. ISBN 9781835951033 (In Press)

2024

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2024) Ketamine Tempo: Aesthetics of Stasis in the Production of Low's 'Double Negative'. Society for Music Production Research - Conference 2025, Leeds Beckett University, 12-14 September 2024.

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2024) Thumbprints on the paintwork: on autoethnography and fandom in the music of Mark E. Smith and The Fall. In: Gouzouasis, Peter and Wiley, Christopher (eds.) The Routledge Companion to Music, Autoethnography, and Reflexivity. Routledge: London, pp. 305-323. ISBN 9780429330049 (doi: 10.4324/9780429330049-23)

2023

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2023) Fifty-one aural selfies // real time. [Compositions]

2022

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2022) Re-actioning: reading and writing sonic fictions on the internet. Riffs, 6(1), pp. 17-26.

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2022) Hearing the Space of Personal Listening: Five Aural Selfies (binaural). [Audio]

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2022) On Aural Selfies. Everyday is Spatial: Immersive Audio Conference, Gloucester, UK, 16-17 June 2022.

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2022) The sound of my hands typing: autoethnography as reflexive methodology in arts-based research. In: Vear, Craig, Candy, Linda and Edmonds, Ernest (eds.) The Routledge International Handbook of Practice-Based Research. Series: Routledge international handbooks. Routledge: London, pp. 491-511. ISBN 9780429324154 (doi: 10.4324/9780429324154-36)

2021

Findlay-Walsh, Iain (2021) Composing the Field of Dwelling: An Autoethnography on Listening in the Home. Journal of Sonic Studies(22),

Findlay-Walsh, Iain (2021) Listener Musics (spatial audio composition, text score for electronics and small ensemble). [Compositions]

Findlay-Walsh, Iain (2021) Virtual auditory reality: inhabiting digital pop music as simulated space. SoundEffects, 10(1), pp. 71-90. (doi: 10.7146/se.v10i1.124199)

2020

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2020) More No Place. [Compositions]

2019

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2019) Hearing how it feels to listen: perception, embodiment and first-person field recording. Organised Sound, 24(1), pp. 30-40. (doi: 10.1017/S1355771819000049)

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2019) w/hair ph<> n mus|x. [Compositions]

2018

Findlay-Walsh, Iain (2018) Auto travelin AV. [Performance]

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2018) Sonic autoethnographies: personal listening as compositional context. Organised Sound, 23(1), pp. 121-130. (doi: 10.1017/S1355771817000371)

2017

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2017) Tracing the liminal: autoethnographic strategies in soundscape art. eSharp, 2017, pp. 7-17.

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2017) Faux départ 5. [Compositions]

Findlay-Walsh, Iain (2017) Auto travelin thru flux flay fusion land. [Compositions]

Findlay-Walsh, Iain (2017) prox|m|ty |s dream|ng. [Performance]

2016

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2016) The Closing Ceremony parts 1 & 2. [Compositions]

2015

Findlay-Walsh, Iain (2015) The Closing Ceremony 9.1. [Performance]

2013

Findlay-Walsh, Iain (2013) A No Place. [Compositions]

2012

Findlay-Walsh, Iain (2012) Horroh. [Compositions]

Findlay-Walsh, Iain and Monfrooe, Amanda (2012) Only Ur Pre Formance Is Cult. [Performance]

2011

Findlay-Walsh, Iain (2011) Postface. [Compositions]

This list was generated on Sun Jun 15 09:10:07 2025 BST.
Jump to: Articles | Book Sections | Conference or Workshop Item | Compositions | Performance | Audio
Number of items: 28.

Articles

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 and Partridge, Tristan (2025) Vectors of novelty: co-composing selves in the terminal present. openwork, (Accepted for Publication)

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2022) Re-actioning: reading and writing sonic fictions on the internet. Riffs, 6(1), pp. 17-26.

Findlay-Walsh, Iain (2021) Composing the Field of Dwelling: An Autoethnography on Listening in the Home. Journal of Sonic Studies(22),

Findlay-Walsh, Iain (2021) Virtual auditory reality: inhabiting digital pop music as simulated space. SoundEffects, 10(1), pp. 71-90. (doi: 10.7146/se.v10i1.124199)

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2019) Hearing how it feels to listen: perception, embodiment and first-person field recording. Organised Sound, 24(1), pp. 30-40. (doi: 10.1017/S1355771819000049)

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2018) Sonic autoethnographies: personal listening as compositional context. Organised Sound, 23(1), pp. 121-130. (doi: 10.1017/S1355771817000371)

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2017) Tracing the liminal: autoethnographic strategies in soundscape art. eSharp, 2017, pp. 7-17.

Book Sections

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2025) Internet pop reception as sonic autoethnography: circulating music, story and self online. In: The Intellect Handbook of Popular Music Methodologies. Intellect. ISBN 9781835951033 (In Press)

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2024) Thumbprints on the paintwork: on autoethnography and fandom in the music of Mark E. Smith and The Fall. In: Gouzouasis, Peter and Wiley, Christopher (eds.) The Routledge Companion to Music, Autoethnography, and Reflexivity. Routledge: London, pp. 305-323. ISBN 9780429330049 (doi: 10.4324/9780429330049-23)

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2022) The sound of my hands typing: autoethnography as reflexive methodology in arts-based research. In: Vear, Craig, Candy, Linda and Edmonds, Ernest (eds.) The Routledge International Handbook of Practice-Based Research. Series: Routledge international handbooks. Routledge: London, pp. 491-511. ISBN 9780429324154 (doi: 10.4324/9780429324154-36)

Conference or Workshop Item

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2024) Ketamine Tempo: Aesthetics of Stasis in the Production of Low's 'Double Negative'. Society for Music Production Research - Conference 2025, Leeds Beckett University, 12-14 September 2024.

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2022) On Aural Selfies. Everyday is Spatial: Immersive Audio Conference, Gloucester, UK, 16-17 June 2022.

Compositions

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2025) A Transmutation Music. [Compositions]

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2023) Fifty-one aural selfies // real time. [Compositions]

Findlay-Walsh, Iain (2021) Listener Musics (spatial audio composition, text score for electronics and small ensemble). [Compositions]

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2020) More No Place. [Compositions]

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2019) w/hair ph<> n mus|x. [Compositions]

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2017) Faux départ 5. [Compositions]

Findlay-Walsh, Iain (2017) Auto travelin thru flux flay fusion land. [Compositions]

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2016) The Closing Ceremony parts 1 & 2. [Compositions]

Findlay-Walsh, Iain (2013) A No Place. [Compositions]

Findlay-Walsh, Iain (2012) Horroh. [Compositions]

Findlay-Walsh, Iain (2011) Postface. [Compositions]

Performance

Findlay-Walsh, Iain (2018) Auto travelin AV. [Performance]

Findlay-Walsh, Iain (2017) prox|m|ty |s dream|ng. [Performance]

Findlay-Walsh, Iain (2015) The Closing Ceremony 9.1. [Performance]

Findlay-Walsh, Iain and Monfrooe, Amanda (2012) Only Ur Pre Formance Is Cult. [Performance]

Audio

Findlay-Walsh, Iain ORCID logoORCID: https://orcid.org/0000-0003-4962-6154 (2022) Hearing the Space of Personal Listening: Five Aural Selfies (binaural). [Audio]

This list was generated on Sun Jun 15 09:10:07 2025 BST.

Grants

  • 2014     Kenneth Elliot Postgraduate Scholarship
  • 2010     Glasgow Educational and Marshall Trust Award

Supervision

Samantha Talbot - No Fixed Abode: Exploring The Album and Beyond

Donna Matthews - Improvisation as liminal experience

  • Blackburn, Rhobet
    How can the concept of oscillation inform practical and theoretical explorations of posthuman philosophy after Adorno and Horkheimer?
  • Matthews, Donna
    Improvisation as a Liminal Experience
  • Wang, Yiwen
    Innovation and Recreation of the Concept of Traditional Chinese Aesthetics in Contemporary Compositional Practice

Teaching

 

  • Sound Shaping and Design
  • Field Recording, Sound and Place
  • Experimental Music Practice
  • Composition
  • Virtuality, Sound and Music
  • Sound Art Aesthetics and Criticism
  • Dissertation supervision
  • Doctoral supervision

Additional information

Administration

  • Co-director: Immersive Experiences Lab - Virtual Reality in Arts and Humanities Research
  • Board Member: UoG XR Strategy Group
  • Member: SCCA EDI committee
  • Member: BMus admissions committee
  • Convenor, RMA Research Colloquia in Music series 2018-19

List of works:

  • Listener Music 1 & 2 (2021) - text score / spatial audio work - Tectonics Festival (commission)
  • Doomzoming++ (2021, with Zoming Flakes, performer/producer) - digital - self-release
  • More No Place (2020) - digital/online - Outlet Archival / Tectonics online
  • w/hair ph<> n mus|x (2019) - CD / digital album, Entr’acte / uCorridor. 
  • Auto travelin thru flay flux fusion land holdn sum cakes i done in free time so wot? (2017) - Digital album, ucorridor Recs. 
  • Faux départs 5 (2017) - Fixed media composition, commission for Radiophrenia, Glasgow. 
  • Topman Bag (2016) - Cassette release / exhibition, Good Press Gallery. 
  • The Closing Ceremony / Eternal Gratitude (2016) - 5.1. multichannel soundscape composition. Performed at IFIMPAC Leeds, UNFIX Glasgow, SEIF Zagreb. 
  • Its Terminal (2016 – with In Posterface) - Cassette / digital release, Winning Sperm Party. 
  • Somehere In (2014) – Audiovisual composition for smartphone, Instructional Media. 
  • 1 (2013 – with In Posterface) - Cassette / digital release, Winning Sperm Party. 
  • Absolutely the best ABBA since ABBA (2012) - Six track album CDr release, Unverified Records. 
  • Only Ur Pre Formance is Cult (2012 – with Amanda Monfrooe) - commissioned performance, for Episode 2: A Special Form of Darkness, Arika, Glasgow. 
  • Postface (2011) - Eight track CDr / digital release, uCorridor / Never Come Ashore. 
  • Postface 1, 2, 3 (2010) - Commissioned performance, for Instal, Glasgow. 
  • Not With Music (2010) - Multi-media installation, for Arches Live! Glasgow. 
  • A No Place (2010) - CDr / digital release, Unverified Records. 
  • Horroh (2008) - CDr / digital release, Kovorox Sound. 
  • You Got Me Fraiche (2002 – with Lapsus Linguae) - CD release, Fierce Panda Records. 
  • Parade! (2001 – with Lapsus Linguae) - CD single release, Fierce Panda Records.

 


Iain Findlay-Walsh - head and shoulders looking at the camera