Research Output per year
Graeme Truslove is a composer and performer based in Glasgow, Scotland. His output includes: sonic and audio-visual compositions, and improvised music – playing guitar and/or laptop in various solo and collaborative projects. His work is largely concerned with conflicts between intuitive performance and the fixed-medium, often integrating microtemporal and immersive approaches to sound creation and performance. He holds both an M.Eng in Electronics with Music, and a Ph.D. in Music Composition (practice based) from the University of Glasgow. He currently lectures in Composition and Music Technology at the University of the West of Scotland.
Truslove has performed and exhibited his work internationally, and has attracted awards and nominations from: Metamorphoses (Belgium - 1st prize), The Salford Sonic Research Commission (UK), Creative Scotland, The British Council, The Performing Rights Society Foundation PRSF (UK), The Dewar Arts Award (Scotland), Sociedad General de Autores y Editores SGAE (Spain), The Prince’s Trust (UK), The Phonos Foundation (Spain), The Lumen Prize (UK), The International Computer Music Association (USA).
Significant international performances and exhibitions include: San Francisco Museum of Modern Art, OPEN SPACE Commission; L'ESPACE DU SON, Brussels, Belgium; Sonic Fusion Festival, Salford, UK; Seeing Sound Symposium, Bath Spa University, UK; Sonica Festival, Glasgow, Scotland; StillReel, Digital Art Gallery, Australia; The xCoAx Conference, Porto, Portugal, Glasgow, Scotland and Bergamo, Italy; Noise Floor Festival, Staffordshire University UK; Concierto Noche Blanca International Festival of Electroacoustic Music, Santiago, Chile; Toronto International Electroacoustic Symposium, Toronto, Canada; Electronic Literature Organization Media Art Show, West Virginia University, USA; International Conference on Computer Graphics, Imaging and Visualisation, National Chiao Tung University, Hsinchu, Taiwan; International Conference on Information Visualisation, University of Montpellier, France; Featured Composer, Radiocentraal FM106.7,Antwerp, Belgium; Sound Festival, Aberdeen, Scotland; Lightworks Festival, Grimsby, UK; Soundproof festival, Edinburgh, Scotland; Abstract Movement Exhibition, Talbot Rice Gallery, Edinburgh, Scotland; Hilltown New Music Festival, Castlepollard, Ireland; Sonorities Festival of Contemporary Music, The Sonic Arts Research Centre (SARC), Belfast, Northern Ireland; Generative Art Conference, Milan and Rome, Italy; International Congress of Art and Technology, National Museum of the Republic, Brasília, Brazil; Electronic Music Midwest Festival, Lewis University, USA; FILE Electronic Language International Festival, Sao Paulo, Brazil; The International Computer Music Conference ICMC, Stony Brook University, New York, USA and McGill University, Montreal, Canada; Music Under The Influence of Computers, Center for Research in Computing and the Arts CRCA, University of California, San Diego UCSD; N.one-8, Leeds College of Music, Leeds, UK; Zeppelin “Sounds of Power, Listening of Fear”, Festival of Sonic Art, Barcelona; International Society for Music Information Retrieval (ISMIR) Conference, Pompeu Fabra University, Barcelona, Spain; Transformations, Royal Conservatoire of Scotland, Glasgow Scotland.
Area of academic expertise - outline
Electroacoustic Music and Sonic Art –
Composition and performance of fixed-medium Acousmatic music.
Live electroacoustic music performance and interface design.
Visual Music/Audiovisual Art
Collaborative experimental projects with visual artists/filmmakers.
Sound Design for theatre, interactive art, film
Collaborative projects with creative professionals providing sound design for live arts and interactive projects.
Sonic art and audiovisual installations.
Solo and collaborative site-specific projects.
Area of academic expertise - outline
Electroacoustic Music, Sonic Art, Live Electronics, Visual Music, Audiovisual Art, Sound Design, Installation Design
Desired research direction
To further investigate experimental applications of current, or under-explored, immersive audio-visual technologies, exploring: projection mapping, multi-screen formats, Christie microtiles, virtual reality, ambisonics, wave-field synthesis, vector base amplitude panning, timbre-spatialisation and others.
To collaborate with researchers from other disciplines in data visualisation/sonification projects. This is a wide remit, and I am open to a number of possible directions within this field.
Other areas of expertise available for knowledge exchange
Potential knowledge exchange collaborations could include:
Sound and music for film, audiovisual art and new media.
Interactive audio, or audiovisual, interface design.
Live electronics, in collaboration with solo musicians and ensembles.
Audio/audiovisual installations for museums, art galleries and public spaces.
My solo and collaborative work embraces the limits of auditory and visual perception, and as such it can serve to exploit the aesthetic possibilities of new and emerging audio and audiovisual technologies. I welcome proposals from manufacturers looking to showcase the dynamic, spectral and spatial limits of their devices.
- M Music
- visual music
- audiovisual art
- practice based research
Research output: Contribution to conference › Presentation
Activities per year
Activity: Participating in or organising an event › Participation in workshop, seminar, course
1 item of Media coverage