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+ Thesis DVD (Audio and Video files 724M)
• Sinclair, Peter. «Sonification And Art.» Captation, JIM2014: Transformation Sonification. Bourges, 2014. 157-165.
• Sinclair, Peter. Using Real-Time Data Flux in Art – The mediation of a Situation as it Unfolds, RoadMusic – An Experimental Case Study. Doctoral Thesis.
• Gresham-Lancaster, Scot, and Peter Sinclair. "Sonification and Acoustic Environments." Leonardo Music Journal 22 (2012): 67-71.
• Sinclair, Peter; Dr Hubner, Yvonne and Dr Tanaka, Atau "RoadMusic: Music For Your Ride From Your Ride" Special Issue Presence: Teleoperators and Virtual Environments: Subliminal/unaware cues and perception of presence in virtual, tele-presence, and automotive environments. MIT Press (to be published). TBP.
• Sinclair, Peter. "L'art de la sonification en temps réel." Obs/in. l'obs/in, 2011. 121-131.
• Sinclair, Peter. "Living With Alarms." AI & Society (Springer) 27, no. 2 (05 2012).
• Sinclair, Peter. "RoadMusic." AI & Society (Springer) 27, no. 2 (05 2012).
• Sinclair, Peter, ed. "Sonification - What Where How Why." AI & Society (Springer) 27, no. 2 (05 2012).
• Sinclair, Peter. "Research." petersinclair.org. 06 2011. http://petersinclair.org (accessed April 15, 2013)
• Joy, Jérôme & Sinclair, Peter. 2009. Networked Music & Soundart Timeline (NMSAT): A Panoramic View of Practices and Techniques Related to Sound Transmission and Distance
Listening. In Contemporary Music Review, Vol. 28, Issue 4 & 5, (pp. 351-361), Taylor & Francis Group (publishers). Abingdon Oxfordshire: Routledge.
• Sinclair, Peter. 2009. http://nujus.net. In “WJ-Spots #1 – 15 ans de création artistique sur Internet”, Édité par Anne Roquigny, (pp. 90-91). Paris : MCD, Musiques & Cultures Digitales, hors-série 103, Septembre 2009.
• Joy, Jérôme & Sinclair, Peter. 2009. Espaces Sonores en Réseau - pratiques de la recherche en art - Locus Sonus. In Recherche & Création — Art, Technologie, Pédagogie, Innovation, sous la direction de Samuel Bianchini, (pp. 122-139). Paris: Éditions Burozoïque / Les Éditions du Parc, École nationale supérieure d’art de Nancy.
• Joy, Jérôme & Sinclair Peter. 2008. Les Espaces Sonores en Réseau (Networked Sonic Spaces) — Locus Sonus. actes de la conférence internationale ICMC 08 (panel : Networking Performance), (pp. 553-555), International Computer Music Association, SARC Sonic Art Research Center, Queen’s University Belfast. Tampere: GlobalWare Corporation.
• Joy, Jérôme & Sinclair Peter. 2008. Actes des Assises Nationales des Ecoles Supérieures d'Art - Locus Sonus, un laboratoire de recherche en art audio(pp170) ISBN : 2-9083373-69- 6
• Sinclair, Peter. 2007. Locus Sonus. In “Autumn Leaves – Sound and the Environment in Artistic Practice”, Édité par Angus Carlyle, CRiSAP, London College of Communication, Univ. of the Arts London. Paris / London : Éd. Double Entendre.
• "Other kinds of sound environment" – Mobile Sonification and Remote Listening, Mobile Media Lab – Concordia University in Montreal September 8, 2014.
• Colloque "GeCSO" Aix Marseille Université 6 Juin 2014 https://www.youtube.com/watch?v=V40ogXpi4fQ&list=PL_jyYPo3LHrWQwnjDxQm3wI86IGdJMGLW&index=8
• "New Atlantis" locus sonus - Symposium internet auditoriums - Nantes, March 2012.
• Festival Revox "RoadMusic" GMEM, Marseille February 2012.
• Automotive User Interfaces and Interactive Vehicular Applications "Subliminal Perception in Vehicules" Salzburg Nov 2011.
• Obs IN: Encodage, Decodage, Transcodage "Transcodage - L'Art de La Sonification" Ecole Nationale Supérieure de la Photographie d'Arles, Oct 2011.
• Midi Rencontre du Labo NT2 - "RoadMusic: Une Sonification Dynamique en Art" UQAM, Montreal.
• Colloque Avatar "Échographies des œuvres en art audio et électronique" Quebec, February 2011.
• Locus Sonus SYMPOSIUM 6 — SONIFICATION What Where how why(ESA Aix / LAMES CNRS MMSH), March 2010.
• PNEK à Bergen, 'Invited artist' Norvége.October 2009.
• ICMC Sonic Arts Research Centre "Streaming Audio" (SARC) Belfast Août 2008.
• Version Beta, "Locus Sonus in Second Life" Centre pour l'image contemporaine St Gervais, Geneva, Switzerland Dec 2008.
• Tuned City, "Locustream project" Berlin, 1-4 july 2008.
• Festival des Arts Lyriques "Presentation of work" – Master Class Aix-En-Provence, 28-30 juin 2007.
• Festival Second Nature, 'Presentation of work/interview with Dominique Moulin', Aix en Provence, France sept 2007.
During the symposium organised by Locusonus "Sonification (What Where How Why)" we conducted the following interviews with the participants having an artistic practice incorporating sonification.
The same set of questions was used for all the interviews (although not all of the questions where asked of each interviewee)& I have split the interviews accordingly (as far as possible). You can navigate the movies in three different ways: 1/ By clicking the link following each question you will hear all the responses to that question (the order of appearance is "random"). 2/ You can see each artists response to all the questions in chronological order by clicking their image in the list 3/ By following the link below you will go to a page with links to all the files the first number after the name gives the chronological order in that persons interview the second the question n° (with this option you will need to copy and paste the url into quicktime player or equivalent. All Questions →
Can you introduce yourself & describe briefly how you use sonification within your artwork?
How would you qualify the role or position of data within your work & how do you consider your position as an artist in relation to this role?
Do you consider that the use of data operates a shift in the artistic paradigm?
Is the fact that the data is sonified (as opposed to visualized or mediated in some other way) significant, essential... ?
Is your use of data "realtime" if so do you consider this as fundamental to your artistic practice?
Do you consider that data sonification is interpretation?
Is there a philosophical, spiritual or political aspect related to your use of sonification?
Do you consider that sonification is composition (musical composition)?
Have you noticed any particularities in the way that sonification is perceived by an audience?
Do you consider that what you do with sonification is useful ? Can it be related to a problem solving
Do you consider that your work is in a continuum relative to art history or esthetics?