Dr Iain Findlay-Walsh

  • University Lecturer (Music)

Research interests

Research interests:

Field recording and narrative, sound art and soundscape composition, experimental composition, auditory immersion and virtual reality, phonography and urban soundscape, record production and personal listening, emerging music formats, autoethnographic music practices, emerging audio technologies and reception contexts.

Biography

Iain Findlay-Walsh / Klaysstarr is a sound artist, composer and researcher whose work combines field recording and studio production with autoethnographic methods. He is interested in exploring and making connections between sound, space and personal agency, and in recasting his own everyday listening experiences as immersive encounters with augmented sonic realities. His work ranges across installation, performance, fixed-media and multichannel composition and includes presentations across the UK and Europe, including at Glasgow International, Experimentica and Counterflows festivals, as well as commissions from Tectonics, Arika and Radiophrenia. His releases are available across numerous labels and formats, most recently on Entr’acte, Antwerp (2019). His research on sound and listening has been presented across the UK, Europe and in the USA, and his writing on soundscapes and auditory perception is published through the Organised Sound journal. He teaches composition, experimental practice and sound art, while co-directing the Immersive Experiences Lab on Virtual Reality in Arts and Humanities Research, and curating the spatial audio event series, INTER-. In addition to his activities as a sound artist, Iain regularly performs as an improviser and multi-instrumentalist, most recently with experimental metal collective Zoming Flakes. He was previously an instigator and agitator in improvising noise/pop group In Posterface and with notorious prog-punk maximalists Lapsus Linguae.

https://ucorridor.bandcamp.com/

https://soundcloud.com/klaysstarr

 

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 Tue Apr 20 05:28:30 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 Tue Apr 20 05:28:30 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 - practice-research portfolio

Teaching

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

Additional information

Administration

  • Co-director: Immersive Experiences Lab - Virtual Reality in Arts and Humanities Research
  • BMus admissions committee member
  • Convenor, RMA Research Colloquia in Music series 2018-19

List of works:

  • 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.