Both of these projects, in their own ways, offer a different perspective on contemporary sound art practice. They operate less along the lines of the modernist artist, or of creative collaboration with agents of capital, but are centred upon the educational and community benefits to be gained from a creative engagement with sound.
In one example of the SonicPostcards project, the Sonic Arts Network team went into Downham special School. Activities included drawing sound maps, drawing environmental sounds and students being encouraged to keep a sound diary. The project is explicitly driven by debate and discussion, with technology being deliberately kept in the background as a facilitating, but potentially distracting, conduit for the exchange of ideas between the visiting artists and the students.
Adam Proctor presenting directly after the SAN has been working on a sound project in the nearby town of Inverie. The aim of the piece was to explore the identity of young people within their environment, and for them to experience everyday sounds from a different perspective.
Proctor articulates a desire to move these types of activity into mainstream education, as he has proposes that creative sound projects can help ‘marginalised’ groups and individuals reengage with learning on a wider level.
—- get more specifics.
— discussion – funding sources for sound art
— proof for his claims? Is he arguing this to secure finance for his organisation?