Dr Iain Findlay-Walsh

  • University Lecturer (Music)

Research interests

Research interests:

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

Biography

Iain Findlay-Walsh / Klaysstarr is an experimental music producer, composer and researcher whose work combines field recording and studio production with autoethnographic methods to research personal listening. His practice research explores aural 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.  

 

Publications

List by: Type | Date

Jump to: 2021 | 2020 | 2019 | 2018 | 2017 | 2016 | 2015 | 2013 | 2012 | 2011
Number of items: 16.

2021

Findlay-Walsh, I. (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, I. (2020) More No Place. [Compositions]

2019

Findlay-Walsh, I. (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)

2018

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

Findlay-Walsh, I. (2018) Sonic autoethnographies: personal listening as compositional context. Organised Sound, 23(1), pp. 121-130. (doi: 10.1017/S1355771817000371)

Findlay-Walsh, I. (2018) w/hair ph<> n mus|x. [Compositions] (In Press)

2017

Findlay-Walsh, I. (2017) Tracing the liminal: autoethnographic strategies in soundscape art. eSharp, 2017, pp. 7-17.

Findlay-Walsh, I. (2017) Faux départ 5. [Compositions]

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

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

2016

Findlay-Walsh, I. (2016) The Closing Ceremony parts 1 & 2. [Compositions]

2015

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

2013

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

2012

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

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

2011

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

This list was generated on Sat Jul 31 21:36:11 2021 BST.
Number of items: 16.

Articles

Findlay-Walsh, I. (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, I. (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, I. (2018) Sonic autoethnographies: personal listening as compositional context. Organised Sound, 23(1), pp. 121-130. (doi: 10.1017/S1355771817000371)

Findlay-Walsh, I. (2017) Tracing the liminal: autoethnographic strategies in soundscape art. eSharp, 2017, pp. 7-17.

Compositions

Findlay-Walsh, I. (2020) More No Place. [Compositions]

Findlay-Walsh, I. (2018) w/hair ph<> n mus|x. [Compositions] (In Press)

Findlay-Walsh, I. (2017) Faux départ 5. [Compositions]

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

Findlay-Walsh, I. (2016) The Closing Ceremony parts 1 & 2. [Compositions]

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

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

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

Performance

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

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

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

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

This list was generated on Sat Jul 31 21:36:11 2021 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

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.