Dr Alan Dunn

Bill Drummond’s Curfew Tower, essay in online journal ‘stimulus respond’ issue 14 on theme of ‘Captive’, edited by Jack Boulton, www.stimulusrespond.com, April 2011.

Ailis Ni Riain – Taken, essay in online journal ‘stimulus respond’ issue 14 on theme of ‘Captive’, edited by Jack Boulton, 2012 www.stimulusrespond.com, April

Presentation with Jeff Young on the 2003 BBC Radio 3 project SuperBlock, at DWELLING AND ITS DISCONTENTS: ART, HOME AND ECONOMY, organised by ProtoHome, Newcastle

Hear Us is an ongoing project bringing together artists, musicians, researchers, and members of the public to make underwater recordings around the Isle of Man. By listening to sounds beneath the surface, we can gain a new appreciation of the Island’s rich and varied marine life — and a deeper awareness of the human-made sound pollution that threatens it. The project was inspired by the 1950s’ short stories of Wirral-born writer Malcolm Lowry, titled after the Manx fishermen’s hymn ‘Hear Us O Lord From Heaven Thy Dwelling Place’.

Artefacts and findings from the 'Where the Arts Belong' research project, including new artefact 'Conversations'

Artefacts and findings from the 'Where the Arts Belong' research project, including new publication 'The Jingle Book'

Radical Connectedness, is a group exhibition curated by a L6 Fine Art student to encourage new connections between organisations and artists. A private viewing of a group exhibition curated by a L6 Fine Art student to encourage new connections between organisations and artists: Skye Shadowlight Brite, Tony Heaton OBE, Sleepy Dormilion, Joanne Tiffany, CoActive Arts, Alan Dunn and Sue Scott. The exhibition has been developed for our White Column project space in conjunction with numerous partners, including the Art House, with design work by Graphics student Meriel Allen. Radical Connectedness brings together an exciting range of practitioners to challenge and foreground access in the arts through a series of publications, sculptures and banners. The Inside Out Lecture Series at Leeds School of Arts, Leeds Beckett University is an incredible opportunity to present international cutting-edge research and arts practice innovation to our research and teaching community here and to the wider national and international public.

Being a football fan can be beneficial for adults with a learning disability; it can be a social activity and a source of identify and community belonging. The Being a Bantam exhibition is a series of 25 photographs taken by fans of Bradford City Football Club with a learning disability. The photographs are intended to represent the experience of being a fan with a learning disability, the diversity of football fans, and de-stigmatise learning disability. They are on permanent display in Bradford City FC's stadium.

NUMBERS.FM, broadcast of Before The sounds of ideas forming, curated by Jon Cates, Chicago

RadioCity, curated by Marion Harrison and Harold Offeh, Tate Britain

The Winter's Tale UK International Radio Drama Festival, curated by Moving Theatre, Herne Bay, Canterbury

Radiophrenia, curated by Mark Vernon, Centre for Contemporary Art, Glasgow, 2015

Other Worlds Festival of Experimental Music and Sound Art, curated by Rick Thompson, Blackpool, 2015

Grey library for a closed airport, CD edition in collaboration with Joaquin Ronco

Essay on artists' group Foreign Investment for online journal Stimulus Respond, on the theme of 'Chaos'

RADIO ON, broadcast of Revolutions in graphic design, curated by Rinus van Alebeek, Berlin

goldonred, limited edition gold cassette in collaboration with Mike Badger, Lizzie Nunnery and Vidar Norheim, Stuplex002

Radio commissions, curated by Etienne Noiseau, Marseille, Liverpool, Gdansk, Istanbul and Naples. Participants include Chris Watson (UK) and Vergyl Sharkkya (Can). http://www.grenouille888.org/dyn/spip.php?article1591

Group exhibition, curated by Sara Jayne Parsons, Bluecoat Gallery, Liverpool. Participants include Paul Rooney (UK), Gina Czarnecki (UK) and Imogen Stidworthy (UK).

work on the line, limited edition publication, in collaboration with Roger McKinley, edited by David Penny. 2015

Group exhibition in collaboration with Fiona Banner, curated by Paul Ashton, Deep6 Studios, Leeds. Participants include Damien Hirst (UK) and Simeon Barclay (UK).

Online audio streaming channel, curated by MarionHarrison. Participants include Alex Farrer (UK) and Constant Dullaart (Neth). www.shortfuse2010.co.uk.

Online audio streaming channel, curated by Lars Lundehave Hansen, Aalborg, Denmark. Participants include Fabienne Audéoud (Fr), Juha Valkeapää (Fin) and Simon Whetham (UK). www.soundgate.dk.

Online broadcast in collaboration with Jeff Young, Resonance FM.

The Dark Outside FM/Sanctuary, broadcast, in collaboration with Valerie Vivancos, curated by Frenchbloke, The Galloway Forest Dark Skies Park. 2015.

A history of background presented in group exhibition, curated by Peter Lewis, Highlight Comedy Club, The Cube, Leeds, March

Please Hold Magazine, publication of sounds from TAPE BRITAIN, curated by Kristie Wickwire, St. Louis

Curated by Mike Chavez-Dawson, edited by Matthew Frost of Manchester University Press, Untitled Gallery, Manchester.

Project Radio, broadcast of Big bang to Wharf Chambers, in collaboration with Chris Watson and Leeds Beckett University students, curated by Marion Harrison and Sophie Mallett, Leeds

PNEM Sound Art Festival, curated by Antoon Versteegde, Unem, Netherlands

'Soundtrack for a catastrophic world' presented as installation in collaboration with Ben Parry,

RADIO ON, broadcast of RETROGRADE, in collaboration with Manchester School of Art students, curated by Rinus van Alebeek, Berlin

Reflections on the relationship between public art and public transport through projects initiated from 1990-2008.

Essay on collaboration between Alan Dunn and Douglas Gordon as part of the 'Ways of looking' photography festival, focusing on large public artwork of Pink Floyd's Syd Barrett

Lecture and seminar on 'The sounds of ideas forming' given to coincide with Haroon Mirza exhibition, curated by Marie-Anne McQuay

One-night residency in Bill Drummond's Curfew Tower, Country Antrim, Northern Ireland to create sound artwork for Static Gallery, Liverpool

Music for empty spaces, curated by Roger Hill, BBC Radio Merseyside

DadaSounds, soundworks in collaboration with Jeff Young and Martin Heslop for CITIES AND MEMORIES, curated by Stuart Fowkes, Oxford

Listening Booth, broadcast of 36 compositions for a Woolton jukebox, in collaboration with Jeff Young, curated by G.GEORGE

Performance: Everyman Theatre, Liverpool. Participating artists: Nick Bagnall, Jeff Young, Leila Romaya, Tim Brunsden, Philip Jeck, Emma Bassnett and Bass Techs, the Everyman’s training programme for young people aged 18-24 who are not in education, employment or training (NEET) or those considered ‘at risk’ . Contribution: Live art event and film devised by Dunn and Bagnall, commissioned by The Everyman Theatre with support from Leeds Beckett University, marking the twentieth anniversary of RAY + JULIE, a sculpture once described by The Guardian as one of Britain’s “Top Ten Secret Artworks.” Date: 1 November 2015 Website: http://alandunn67.co.uk/theballadofrayandjulienovember2015.html

Sechzig, broadcast of audio work in collaboration with Jeff Young, curated by Simon Knaus

Circuit Bridges, in collaboration with Jeff Young, Dina Bird and Ewan Grant, curated by Patricia Walsh, MC Gallery, New York

PMS, BBC Radio Merseyside, broadcast of track ‘niconversations’ on Roger Hill’s Programme, 2014

The sounds of ideas forming, installation, Cirrus Gallery, Los Angeles

Transnational Express, presentation of Artists’ uses of the word revolution, curated by Dr Malcolm Riddoch, The Auricle Sonic Arts Gallery, Christchurch, New Zealand, 2014

Forest Fringe Travelling Sounds Library, touring audio collection, curated by Ira Brand, Oval House Theatre, London, 2011 (http://www.ovalhouse.com/whatson/detail/the-travelling-sounds-library)

Adventures in Numb4rland, limited edition audio CD and booklet. Participants and content include Alex Bellos, Diamanda Galas, Chris Watson, Alva Noto, The 5678s and Clinic, 2012

Boredom, curated by Michael Jenkins, The Leeds Library, Leeds, 2012

44, intervention at Bill Drummond’s Curfew Tower, Country Antrim, Northern Ireland, curated by Paul Sullivan, Static Gallery, Liverpool, 2012

Open Network, listening station, curated by Jean Milant and Aaron Wrinkle, Cirrus Gallery, Los Angeles, 2012

Open Curate-It, playlist, curated by Boo Chapple, FACT, Liverpool, 2012

Liverpool Art Prize, featuring James Thompson (Tomo), Robyn Woolston and The Drawing Paper’s Jon Barraclough and Mike Carney METAL, Liverpool, 2012

Black Dogs FM installation, audio tracks from Artists’ uses of the word revolution included in Zavvi/Virgin unit, Bradford, May

Live event at top of Radio City Tower, in collaboration with Michael Jenkins and featuring Peter Hook, Scanner and Haroon Mirza, Liverpool

V22 Summer Radio Club, streaming of ten hours of audio content from seven CDs, curated by radeq (Clair Urbahn and James Dunn), Bermondsey, June-August, 2012

Essay on sound and the theme of 'Art and the SuperCity'

Maggots to markets, new audio work with Chris Watson and students from Leeds Metropolitan University, online broadcast, Framework Radio, 2012

Democratic Promenade, in collaboration with Derek Horton, Michael Jenkins and Sam Meech, Bluecoat Gallery, Liverpool 2011

Reflections on twenty years of off-site public and community projects

SOUNDWORKS, sound work commissioned by ICA, London, as part of Bruce Nauman’s Days exhibition, June 20 – September 19, 2012

STRANGE ATTRACTOR @ STUDIO SOTO, Boston, USA, presentation of Adventures in numb4rland, 2012

Broadcast on webSYNradio, curated by Dominique Balaÿ, France

No 4 - Variation - Mutation - Adjustments - No 28, live sound performance in collaboration with Martyn Rainford, BasementArtsProject, Leeds, 2012

PRIVATE, live event in collaboration with Michael Jenkins, Radio City Tower, Liverpool, 2012

Digital printed banner for the group exhibition 'PS I LOVE YOU' curated by Jean McEwan.

Online project and exhibition, curated by Maureen Bachaus, (http://bachaus.wix.com/utopia#!english/c1t8) and Flux Factory, New York

Inhospitable, curated by BasementArtsProject, Liverpool, 2012

Online broadcast of The Ghost Telegrams, curated by Lucinder Guy, Totnes

Soundwalk2012, Long Beach audio art event, curated by FLOOD, California.

noises festival, B-05, Montabaur, curated by Christopher Southernwood, University of Koblenz, Germany

Composers Laboratory, audio-visual presentation of new work London Road 1966, in collaboration with Jeff Young and Martin Heslop, curated by Ian Brownbill, Metal, Liverpool, 2013

Electronic Voice Phenomenon, audio-visual presentation of new work London Road 1981, in collaboration with Jeff Young and Martin Heslop, curated by Nathan Jones, St Georges Hall, Liverpool

Radio Panik 105.4FM, broadcast of Take the mic away (Dunn/Bluecoat1998), curated by Group L’etranger, Brussels, 2013

Online broadcast curated by Group l'étranger, Belgium, Artists' uses of the word revolution and Adventures in numb4rland.

Art Lab, residency, Manchester Metropolitan University, 2013

Online broadcast, an audio portrait of place, collaboration between Jennie Savage and Echoes, broadcast of Arnold Circus, curated by Osso, Lisbon and stress.fm

Hilltown New Music Festival, Ireland, presentation of Adventures in numb4rland, 2012

Online broadcast of Arnold Circus, curated by The Parlour Showrooms, Bristol

The Reading, curated by Mike Chavez-Dawson, Untitled Gallery in conjunction with Cornerhouse, CUBE, Chinese Arts Centre, Castlefield Gallery, Manchester Art Gallery, The John Rylands Library and MMU Special Collections Reading Room (All Saints Campus), Manchester, 2011

Online broadcast from 'The sounds of ideas forming', curated by Radio Papesse, Florence/Berlin

New soundwork in collaboration with Martyn Rainford comprising 12" dubplate and graphic lightboxes.

Online presentation of excerpt from The sounds of ideas forming, curated by Aaron Inker, Italy

New soundwork in collaboration with Martyn Rainford comprising 12" dubplate and graphic lightboxes.

Surround-sound installation in collaboration with Martyn Rainford, BasementArts, Leeds

Group exhibition, featuring presentation of 'tunnelblind' and 'The Ghost Telegrams', curated by Anthony Kelly, Ireland

Group exhibition curated by Bob and Roberta Smith, London, featuring presentation of 'Artists’ uses of the word revolution'.

Presentation of 'Adventures in numb4rland', curated by Anthony Kelly

Sound installation curated by FLOOD, Long Beach, California, USA, presentation of all seven CDs from 'The sounds of ideas forming'

Festival curated by Christopher Southernwood, University of Koblenz, Germany, featuring presentation of 'Music for the Williamson Tunnels'.

In 2012, I was commissioned to create a new soundwork for the group exhibition SOUNDWORKS to coincide with the Bruce Nauman exhibition DAYS at the ICA in London. SOUNDWORKS was curated by Gregor Muir as a gallery installation and online design featuring 132 artists, commissioned to respond to Nauman’s seminal work that ‘invokes both the banality and the profundity of the passing of each day, and invites reflection on how we measure, differentiate and commemorate time’. My research began with the notion of ideas forming through time to create a seamless 60-minute audio collage consisting of content that I secured permissions on. I began with the sound of John Cage’s silences, recorded from vinyl by Pavel Büchler and continued through artists that use extreme time – Jem Finer and Chris Watson – to those using it sparingly such as Peter Suchin, Ben Parry and Douglas Gordon. This was presented alongside archival content from Michelangelo Antonioni and recordings from deep space. SOUNDWORKS included many of the ‘heavyweights’ of sound art, including Brandon LaBelle, Scanner, Haroon Mirza, Cosey Fanni Tutti, David Toop and Stuart Home, and is presented in the upstairs ICA Gallery on iPad, enabling viewers to select specific works. In addition, the ICA designed an online interface, and of the 132 soundfiles; my work was the 8th most listened to during the exhibition, with 1,282 listens. The online design also won a Bronze at the Lovie Awards for websites. My work is picked out by both The Morning Star and Wallpaper. Following on from my involvement in SOUNDWORKS, I collaborated with Haroon Mirza for the event PRIVATE that I curated for the top of the Radio City Tower in Liverpool.

Liverpool Art Prize, METAL, Liverpool, featuring four short-listed artists, presentation of all seven CDs from 'The sounds of ideas forming' plus one live event

Online broadcast and interview, curated by Justinas Mikulskis, Lithuania

In 2012 I was short-listed for the Liverpool Art Prize. Set up in 2008, and inspired by the Turner Prize, The Liverpool Art Prize is a competition of contemporary art open to all professional artists based or born in the Liverpool region. I was awarded an Arts Council Grant and a Leeds Met University research Award totalling £2,750 to produce an installation of my ‘Sounds of ideas forming’ research that considers the relationships between contemporary curating and sound art. My presentation further considered the role of the archive, inspired by Gerard Byrne’s work at the 2011 Venice Bienniale. The awards provided me with production costs on a set of three new 10m banners containing texts from my research into sound art, and a thousand copies of a 37-track sampler CD given away freely to the public. For the launch event, I commissioned artist Jeff Young and musicians Moongoose to perform a new 15-minute composition in front of the banners for the 300 visitors. Located in the main engine room of a former railway station on the platform at Edge Hill Station, Metal was a suitable context for my work that often explores soundtracks to real journeys. I set up six display cases of ephemera and rare objects related to my research, including a fragment from Apollo 8 and a rare tin of ‘Bill Drummond’s International Grey’. The exhibition offered me the opportunity to present, for the first time, the range of my research and reading material in one location and led directly to two further commissions in the form of ‘The Ghost Telegram’ [2012] and participation in the 2013 Composer’s Symposium at Metal.

Group exhibition curated by Michael Jenkins, The Leeds Library

Online broadcast in collaboration with Jeff Young, Resonance FM

Touring audio collection, curated by Ira Brand, Oval House Theatre, London, November, broadcast of all seven CDs from 'The sounds of ideas forming'

Audio CD 'Soundtrack to a catastrophic world' presented in collaboration with Ben Parry for Quebec Biennial.

Online broad in collaboration with Jeff Young, AIR/EAR Radio, Santa Fe, Argentina.

In 2009 I was awarded an Arts Council England Grant and a Leeds Metropolitan University research Award totalling £4,899 to produce a new sound artwork. The award provided me with production costs and an eight-month research period in which to develop the artwork in the form of a 2XCD edition designed by Lisa Novak in an edition of 1000 with a booklet. My research centred on the relationship between artists and revolution, and more specifically the use of sound to explore the phonetics of the word. I took revolution as a fundamental behavioural driver linked to creativity to develop a 67-track playlist that included archival material on which I secured full permission. Content included sounds by Douglas Gordon, Aldous Huxley, Marcel Duchamp, the Black Panthers, Herbert Marcuse, Sarah Jones, Raul Castro and George Maciunas. The 2XCD set ‘Artists’ uses of the word revolution’ contained a wide range of genres, from Spanish punk, reggae from Trinidad, poetry from Kurdistan and techno from Belarus. This curatorial breadth led me to develop a further four CDs using similar curatorial ideas. The CD also coincided with me instigating an annual series of master classes delivered with sound recording artist Chris Watson. I presented the CDs as online designs and installations at a range of sound art events, including SOUNDWALK2012 [Los Angeles 2012], Open network [Los Angeles 2012] and Cultural Hijack [Architecture Association, London 2013]. Content was also broadcast by nictoglobe [Amsterdam 2011], V22 Summer Radio Club [London, Forest Fringe Travelling Sound Library, 2011], webSYNradio [Nimes 2012] and SecretThirteen [Lithuania 2013].

Billboard artwork and artefacts as part of archival exhibition, FACT, Liverpool

Presentation of Artists’ uses of the word revolution, curated by muk, Grunbach, Austria

Online broadcast of Before The sounds of ideas forming, curated by Rinus van Alebeek, Berlin

FOUR WORDS: JANUARY. A one-hour screening on Europe's largest outdoor moving image screen. Commissioned by Metal Liverpool as part of Liverpool Provocations, curated by Alan Dunn. Participating artists (selected): Gerhard Richter, David Shrigley, Andy Warhol Foundation, Pavel Büchler, Jamie Reid, Fiona Banner, Jayne Casey, Douglas Coupland, Forest Swords, Paul Morley, Clinic and Shaista Aziz. Contribution: One hundred digital animations curated by Alan Dunn on the theme of January as part of Liverpool Provocations, curated by Shaun Curtis, METAL, supported by Arts Council England, Liverpool City Council, Ocean Outdoor and Seedbed. Website: http://alandunn67.co.uk/fourwords.html

The text considers the possibilities of a sound art archive that is finite and driven by production alongside collation.

Broadcast as part of NAISA (New Adventures In Sound Art), Toronto

Curated by Lynda Morris, presentation of 'Artists' uses of the word revolution'

Exhibition: Radio City, group residency programme curated by Marion Harrison and Harold Offeh. Venue: Tate Britain, London Participating artists (selected): Sophie Mallett, Scottee, Boff Whalley Contribution: Participatory installation/residency in collaboration with Tate Families and Early Years, locating microphones around the Tate and working with visitors on cassette recordings and edits, broadcast on ResonanceFM (27 January 2015) Date: 19-23 January 2015 Website: http://alandunn67.co.uk/radiocity4.html Website: http://www.tate.org.uk/whats-on/tate-britain/eventseries/radiocity

Invited artwork on theme of 'found'

Alan Dunn introduces Radio Continental Drift

Experimental Audio Research event, curated by Mike Kramer, Kunstencentrum Signe, Heerlen, Netherlands

Podcast in collaboration with BBC Radio Merseyside's Roger Philips as part of the Sound Art Curating, conference organised by Operational & Curatorial Research for Goldsmiths, University of London and The Courtauld Institute of Art

Essay in online journal ‘stimulus respond’ issue 16 on theme of ‘Wonder’, edited by Jack Boulton, www.stimulusrespond.com, February

Essay in online journal ‘stimulus respond’ issue 16 on theme of ‘Wonder’, edited by Jack Boulton, www.stimulusrespond.com, February

Online broadcast of Tunnelblind, curated by Pixel Palace, Newcastle upon Tyne

Group exhibition curated by SCIBase, Arena Studios, Liverpool

Group exhibition, curated by Peter Lewis, Sharjah Art Foundation

Being a Bantam, photographic installation at Bradford City FC, in collaboration with Bradford City Learning Disabled Team and Dr Kris Southby, Leeds Beckett University

Invisible Object, audio work in collaboration with Sculpture Department, Estonia Academy of Art, Tallinn, broadcast on RADIO ON, Berlin

Hoarding, group exhibition, curated by Metal, Peterborough Museum

Circuit Bridges, group exhibition, curated by Patricia Walsh, Media Factory, Preston, 2015

Essay on Bill Drummond's Curfew Tower for online journal Stimulus Respond, on the theme of 'Captive'

Essay on Ailis Ni Riain’s project ‘TAKEN’ for online journal Stimulus Respond, on the theme of 'Captive'

Essay on Suzanne Treister’s project ‘CIA Black Sites’ for online journal Stimulus Respond, on the theme of 'Omen'

Essay on Bigert & Bergstrom’s project ‘The Last Calendar’ for online journal Stimulus Respond, on the theme of 'Omen'

Group exhibition curated by Bryan Biggs, Bluecoat Gallery, Liverpool, in collaboration with Michael Jenkins, Derek Horton and Sam Meech.

Essay on Chris Watson for online journal Stimulus Respond, on the theme of 'Chaos'

Group exhibition curated by Brigitte Jurack, with work developed in collaboration with Peter Suchin

Programme of digital screenings of new works by students, artists and musicians inside Kirkgate Market, Leeds. Participating artists (selected): The Pop Group, Gilbert & George, Douglas Gordon, Peter Suchin and MA Art & Design students. Website: http://alandunn67.co.uk/fourwordsmarket.html

A history of background, broadcast on RTE LyricFM, Bernard Clarke, Ireland

A history of background, review, Clive Bell, WIRE 329, July 2011

Liverpool Art Prize, interview, 7waves Radio, Wirral, 2012

SOUNDWORKS, review, The Morning Star, 2012

Black Online, interview with Michael Flach for German music online journal

Audio developed with students at Estonia Academy of Arts, broadcast on RADIO ON, Berlin, curated by Rinus van Alebeek.

Pictures of… Four Words on a giant electronic billboard, a-n magazine

Revolutions in Graphic Design Venue: Radio On, Berlin, curated by Rinus Van Alebeek Contribution: Online broadcast of composition by Alan Dunn with agreed content from Stewart Home, United Nations Date: May 2015 Website: http://alandunn67.co.uk/revolutionsingraphicdesign.html

Artists' uses of the word revolution Exhibition: Modern History Volume 1, group exhibition curated by Lynda Morris. Venue: Grundy Art Gallery, Blackpool Participating artists (selected): Pavel Büchler, Rosalind Nashashibi and Lucy Skaer, David Osbaldeston, Joe Fletcher Orr, Susan Walsh. Contribution: Work for headphones, curated by Alan Dunn, with agreed content from Douglas Gordon, Charles Dreyfus, Marion Harrison and Herbert Marcuse Date: 25 April – 13 June 2015 Website:

Title: Artists' uses of the word revolution. Exhibition: An Indeterminate Object, group exhibition curated by Peter Lewis (editor, slashseconds) and Sheikha Hoor Al Qasimi (Director and President of the Sharjah Foundation and Sharjah Biennale) Venue: Sharjah Art Foundation, United Arab Emirates Participating artists (selected): Conrad Atkinson, Gordon Cheung, Shezad Dawood, Nooshin Farhid, Margaret Harrison, Peter Kennard, Uta Kögelsberger, William Furlong Contribution: Sound listening post curated by Alan Dunn, with agreed content from Douglas Gordon, Charles Dreyfus, Marion Harrison and Herbert Marcuse Date: 11 October – 8 December 2014

A two-year AHRC-funded network exploring the work of Wirral-born author Malcolm Lowry (1909-1957) concerning the natural world, and to increase care for our oceans and seas through a series of podcasts recorded during sailings between Liverpool and Isle of Man, 2021-22.

Artists' uses of the word revolution. Exhibition: Transnational Express, group exhibition curated by Dr Malcolm Riddoch. Venue: The Auricle Sonic Arts Gallery, Christchurch, New Zealand Participating artists: Peter Barnard, Nichola Scrutton, Gust Burns Contribution: Sound listening post curated by Alan Dunn, with agreed content from Douglas Gordon, Paul Revere & The Raiders, Chumbawamba, Marcel Duchamp, Aldous Huxley and Herbert Marcuse Date: 3-26 July 2014

The sounds of ideas forming: Artists' uses of the word revolution. Sound Art Curating Conference, programmed by Lanfranco Aceti, Operational and Curatorial Research in Contemporary Art, Design, Science and Technology (OCR), hosted by Goldsmiths, University of London and The Courtauld Institute of Art. Participating artists (selected): David Toop, Atau Tanaka, Barbara London. Dates: 15-17 May 2014 Contribution: Podcast interview between Alan Dunn and BBC Radio Merseyside’s Roger Hill discussing Artists' uses of the word revolution and other soundworks

FOUR WORDS: TECHNOLOGY. A group exhibition, curated by Alan Dunn. Venue: The Media Wall, Platform Building, housing the new Leeds Tech Hub, commissioned by Bruntwood Developers. Participating artists (selected): Karl Bartos (Kraftwerk), Professor Stefan Helmreich (MIT), Louise K. Wilson, Leeds United Supporters’ Trust, Amina Abbas-Nazari, Scanner, Roger McKinley (FACT), ARUP and MA Art & Design students. Contribution: Sixty digital animations curated by Alan Dunn on the theme of technology on the new 9m-high Media Wall Date: November 2017 – February 2018

FOUR WORDS: ACADEMIA. A group exhibition, curated by Alan Dunn. Venue: The Media Wall, Portland Building, Leeds Beckett University. Participating artists (selected): Sean Ashton, Douglas Coupland, Foreign Investment, Harry Meadley, Paul Morley, Joe Fletcher Orr, Rachel Reupke, Ross Sinclair, Peter Suchin and MA Art & Design students. Contribution: Thirty digital animations curated by Alan Dunn on the theme of Academia on the new Media Wall. Website: http://alandunn67.co.uk/fourwordsacademia.html

Music for The Williamson Tunnels: A collection of the sound of dripping water, cited Sounding the Limits of Life: Essays in the Anthropology of Biology and Beyond, p.268, Princeton University Press, authored by Professor Stefan Helmreich (Elting E. Morison Professor of Anthropology, MIT) 2015

A nine-minute montage of uses of the word revolution from around the world, with exclusive new soundtrack written by Peter Hook, David Potts and Phil Murphy and recorded by Monaco. Curated by @AnotherIdeal_.

A 30-second animation developed in collaboration with Karl Bartos (Kraftwerk 1975-1991), award-winning independent Liverpool FC fan channel The RedmenTV, young females from Harthill Youth Centre in Liverpool, Leeds Beckett University graphics student Angus Evans, Mark Stewart from seminal bands The Pop Group and Mark Stewart & The Mafia, Amina Abbas-Nazari (Research Fellow at the Royal College of Art), Liverpool-based agency Propaganda-Photo and artist/technologist Graham Hibbert. It was exclusively soundtracked by Scanner, and screened 60,000 times between 1-31 January 2019 during programmes aimed at 16-34 year olds on Channel 4's online platform All4.

Dr. Alan Dunn, Senior Lecturer at Leeds Beckett University, reflects upon his sound art project Artists’ uses of the word revolution in relation to pedagogy, curating and distribution. The project formed part of a new pedagogic model established at Leeds between Dunn, Chris Watson and visual art students, exploring the spaces between sound recording and sound recordings, and between lecturing and administration. The curatorial methodologies deployed throughout the project considered some of the core behavioral drivers that lead professionals and amateurs to return to the record button and why we often revisit the same themes when recording. One of these themes is explored in this text, namely a desire to (sound like one wishes to) change the status quo through the sound of the word ‘revolution’. Dunn curated the collection non-hierarchically, using material from art lecturers and students, artists, archives and other professionals. The work was disseminated in phone boxes, handed out on streets, and more formally shared at events at the Sharjah Art Foundation, Liverpool Art Prize, Auricle Sonic Arts Gallery in Christchurch, Cirrus Gallery in Los Angeles and the ICA and DeptfordX in London.

This paper poses the question of how to write about/as contemporary art. What is the relationship between authoring, making, writing and studio practice in Fine Art and Design contexts? The authors discuss an anxiety that seems common in many visual art students, when confronted with a written task. They reflect upon the benefits and problems of alphabetical writing in general, noting that the topic was probably around before Plato. In seeking new perspectives on the purpose of writing in creative practice they compare the paper-based tradition of editing with that of art curating. They also discuss the transient nature of Snapchat communication and ask whether ‘sympoiesis’ is more emancipatory than ‘editing.’

This paper considers the use of text and writing by artists in relation to the manners in which singers bury their words, artists create self-destructive works and authors increase the impenetrability of their texts in order to push their readers. The paper frames such themes within issues of confidence, concentration and conceptual practice. Finally, the paper introduces the idea of the cultural interruption to regular programming, those brief moments of encounter with something stylistically at odds with the regular form.

The 20-minute sound collage ‘The network (that you can’t hear)’ is an abstract podcast created by artists who are thinking deeply about the trans-industrial, primarily from their base in Liverpool City Region, and how as a network they are contributing to global trade, of (sonic) ideas as well as goods. Taking the modernist literature of Malcolm Lowry that was infused with the minutiae of scientific maritime details (see Ultramarine) the network has been sailing between Liverpool and the Isle of Man to specifically listen to the survival of technologies from one historical period to another. The network now create these mini radio plays around shipbuilding, old mining towns, wildlife sounds, radar blips, waterlines, sunken warships, underwater architecture, tides, foghorns and semaphore, taking in a three-generation voyage from Clydeside shipbuilding through hovercraft design to art school student, Gothic Marxist tales of doomed Arctic drill ship expositions and the lost three rivers of Belfast. In 2017, New Zealand passed a groundbreaking law granting personhood status to the Whanganui River – to harm it is now the same as hurting a human - and in this context, the artists’ voices are also environmental, forming a micro-symposium staged on the very oceanic surface, artists’ voices dipping below and above to hear echoes of distant engines and ripples of future technologies as the sea rises physically and politically.

Venue: Please Hold Magazine, Fall issue, online journal edited by Kristie Wickwire, St. Louis, USA Contribution: Online distribution of two remixed TAPE BRITAIN soundworks Date: 30 September 2015 Website: http://alandunn67.co.uk/pleasehold.html

Exhibition: Group exhibition curated by Alan Dunn. Venue: Lewisham Arthouse, London. Participating artists: Jeff Young, Martin Heslop, Brigitte Jurack, Philip Jeck, Leila Romaya, Vesta Hex, Tim Brunsden. Contribution: Installation of new film by Tim Brunsden documenting the 2015 Everyman Theatre event and launch of 7” single Date: 25 November – 4 December 2016 Website: http://alandunn67.co.uk/theballadofrayandjulienovember2016.html

Alan Dunn's sculpture ascension has been awarded the first ever Liverpool Sculpture Prize by a panel of judges assembled by Liverpool BID, including included; Rector of Liverpool Revd Canon Dr Crispin Pailing MBE from Liverpool Parish Church, The Venerable Pete Spiers, Archdeacon of Knowsley and Sefton in the Diocese of Liverpool, Lesley Woodbridge Public art Officer at Liverpool City Council, artist Faith Bebbington, Curator at DuoVision James lawler, Art critic and writer from the Double Negative Laura Robertson, Saleem Fazal from Taylor Wessing, Curator at Bluecoat Adam Smythe, Julie Johnson, Chair of Liverpool’s BID Company’s Culture & Commerce BID and Business Operations Partner at Morecrofts. His work, Ascension, takes a component from a famous public artwork in Liverpool and repurposes it to talk about loneliness within society. Glasgow-born artist Alan Dunn has been based in the Liverpool City Region since 1995, the year he co-created the RAY + JULIE sculpture with Brigitte Jurack. The sculpture, consisting of two chairs, was originally commissioned by the Furniture Resource Centre. The original RAY + JULIE artwork existed for 27 years. Nobody ever knew who RAY + JULIE were, but in this new work they are separated, RAY at the plinth and JULIE left behind on London Road. It will be the first time in 27 years they will have been separated and will remind us of the solice and support that faith brings to the lonely and the forgotten. Ascension sees RAY installed at the Plinth on Liverpool Parish Church for twelve months.

Exhibition: Everyword New Writing Festival, devised by Alan Dunn, Lyndsay Rodden (Everyman Literary Associate) and Nick Bagnall (Everyman Artistic Director), Everyman Theatre, Liverpool. Participating artists: Jeff Young, Angela Pearsall, Emma Bassnett, Paul Simpson. Contribution: Installation, soundtrack and live event developed during a week-long residency, exploring Dunn & Jurack’s public sculpture RAY + JULIE (1995). Date: 22-26 October 2014 Website: http://alandunn67.co.uk/rayandjulieonlondonroad.html

During lockdown, artist Alan Dunn established ‘orchestras’ across seven dementia care homes, using everyday objects as instruments and tongue twisters as lyrics. To everyone’s surprise, these tongue twisters became a precious activity, with participants (and the artist’s 6-year-old grandson) creating new ones, reciting them in different styles and even mastering some of the world’s hardest ones! This new mix brings together versions from one of the care villages in Chester that was part of the longer Where the Arts Belong research project between Bluecoat and Belong. The recent publication The Jingle Book documents these tongue twister adventures that brought laughter and new verbal fluency to many during dark times. The book comes with a range of tactile objects as prompts and contributions from Fine Art students, Professor Claire Surr (Centre for Dementia Research, LBU) and Laura Yates (Head of Engagement, Bluecoat)

Exhibition: PMS, Roger Hill weekly alternative music radio programme. Venue: BBC Radio Merseyside. Participating artists: Danny McEvoy (busker) Contribution: New cover version of Gil Scott-Heron’s The revolution will not be televised by Liverpool-born busker Danny McEvoy, commissioned by Dunn and broadcast on Roger Hill's PMS, BBC Radio Merseyside as part of a series of new works marking 40 years of this important radio programme. Date: Sunday 2 April 2017 Website: http://alandunn67.co.uk/therevolutiondanny.html

Exhibition: Revolution 1917-2017, public programme curated by Cathy Butterworth, Arts Centre Manager, Edge Hill University, Ormskirk. Venue: Static Gallery, Liverpool; Liverpool Sound City at Camp & Furnace and Edge Hill University. Participating artists: Developed in collaboration with Michael Boucher and Erin Caine (Leeds Beckett MA Art & Design graduates), Rich Rath (University of Hawaii), Derek Horton, Marion Harrison, Lara Rose, Alice Lapworth and Edge Hill dance students, Cavalier Song, Tom Rea Smith, Malik Al Nasir and members of Gil Scott-Heron’s family and band. Contribution: Commissioned by Edge Hill University in three parts: public talk and installation at Static Gallery; installation at Liverpool Sound City during the Revolution will not be televised panel discussion featuring Danny Fields (Ramones/Iggy and the Stooges), Nathan McGough (White Lines/Happy Mondays), Seymour Stein (Sire Records) and Sarah Brooksbank (Fat White Family/Bat for Lashes); 24-hour cover version of Gil Scott-Heron’s The revolution will not be televised at The Arts Centre, Edge Hill University. Dates: Static Gallery, 25 March 2017, Liverpool Sound City, 26 May 2017 and Edge Hill University 24/25 October 2017. Website: http://alandunn67.co.uk/therevolutionwillnotbeedgehill.html

Exhibition: Cultural Hijack, group exhibition curated by Ben Parry and EPOS 257. Venue: International School of Architecture ARCHIP, Prague. Participating artists (selected): Brandalism, Allan Kaprow, Krzysztof Wodiczko, Nina Edge, Peter Kennard, Tatzu Nishi. Contribution: Two 12" clear single-sided dubplates featuring new 10-minute versions of Artists' uses of the word revolution, presented in custom-built listening booth, featuring non-agreed content from John Lennon, Crass, Noam Chomsky, Bob Marley, Nina Simone, Last Poets, William Burroughs Date: 19 June - 15 September 2017 Website: http://alandunn67.co.uk/aaprague.html

Artists' uses of the word revolution. Exhibition: a.v.s. projects, installation curated by Adam Nankervis (Another Vacant Space + museumman, Berlin) within Autogestión, group exhibition curated by Antonio Ortega. Venue: Foundacio Joan Miro, Barcelona. Participating artists (selected): Esther Ferrer, Joan Hernández-Pijuan, Michelangelo Pistoletto, Sílvia Gubern, Jiri Kovanda, Henk Peeters. Contribution: Presentation of Artists' uses of the word revolution CD as soundtrack to installation. Date: 16 February – 21 May 2017 Website: https://www.fmirobcn.org/es/exposiciones/5719/autogestion

Sound of a sound art archive: Artists' uses of the word revolution. Journal: Journal of Writing in Creative Practice, Volume 7 Number 3, Pp 459-470, edited by Rowan Bailey and Jess Power, University of Huddersfield Publisher: Intellect, ISSN1753-5190 Date: July 2015 Website: http://alandunn67.co.uk/soundarchive.html Website: http://www.intellectbooks.co.uk/journals/view-Journal,id=154/view,page=0/

Sound is all around us, every day. Even when you think it’s quiet, it’s not completely silent. Experience the sensation of sound as we uncover how it shapes our everyday lives. Follow the life of a soundwave through the gallery, from creation to being heard. Along the way, there’ll be lots of opportunities for you to stop and listen, then manipulate and play with sound. Walk through an insulated sound canal, experiment with tiptoeing or stomping, and hear the sound of your own footsteps in a forest. Then experience an amazing audiovisual show from our Explainers!

Socially engaged art and curatorial project working with people living with dementia.

This is an Arts Council of England funded community art project launched as part of Liverpool Independents Biennial 2021. It was dreamt up by Dr Alan Dunn to celebrate some hidden narratives around three Liverpool City Region locations near where he lives on the Wirral peninsula – Spital, New Ferry and Port Sunlight. He invited artists The Singh Twins, Malik Al Nasir, Steve & Phaedra Hardstaff and Joseph Cotgrave to research the areas, chatted with locals and edited stories down to FOUR WORDS that encourage us all to look beyond the surfaces.

10-minute mix of street and sports chants and poetry to be played back in the ‘Medals’ section of the Helicotrema Festival over a Tannoy Speaker in La Fratellanza 1874, one of the most renowned athletics fields in Italy. Collaborators include Eleni Poulou & Mark E. Smith, Commoners Choir and radio continental drift.

Audio collaboration with Eleni Poulou (The Fall) on cassette, premiered at Artist Self-Publishers' Fair, ICA, London

Curation of three billboards as part of Marion Harrison's programme of events at Convention House, East Street Arts, Leeds; new digital prints by Jessie Brennan, Tara Collette and Andy Edwards.

This Practice as Research (PaR) PhD submission contributes new knowledge on the influence of Yoruba culture, specifically the significance of Dr Geraldine Connor (1952-2011). It asks: Where does Yoruba thinking, language and making continue in UK culture? How has Yoruba language, art and sculpture been censored and how can it be retrieved? How did lockdown impact artistic production? The main contribution to knowledge has been retrieving a sense of Yoruba culture in the UK and exploring its potential through contemporary sculpture, including during COVID-19 lockdown. Focusing on Connor, the research outcomes are arrived at through a series of sculptural works by the author alongside interviews with key figures such as Arthur France (Leeds Carnival). Connor utilised Yoruba culture in her phantasmagorical Carnival Messiah stage production, despite colonial prohibitions, censorship and anxieties surrounding Yoruba culture. In conversation with Connor and on her discovery of the author’s Yoruba heritage, Connor admonished the author to tell her Yoruba story through her art practice. The practice is underpinned by consideration of Yoruba scholars such as Oluwole, Abiodun and Lawal who, like Connor, advocate the need to let the Yoruba voice speak and these are explored within a contemporary decolonising/BLM context. Yoruba artistic aesthetics were often described by colonial outsiders as primitive, uncivilized or simply decorative. Indeed, discovery of life-like (ayajora) Head (ori) sculptures at Ife, in Nigeria was met with disbelief that Africans had created them. Frobenius even speculated that the Head of a King (Ori Olokun) sculpture housed at the British Museum may have come from Atlantis! Furthermore, a sculptural tradition was stolen by colonialism, and nearly (but not entirely) extinguished after the invasion of the Benin empire by the British Army in 1897 and countless Benin bronzes were looted (as spoils of war) and dispersed worldwide. Connor’s Third Space for creative empowerment is explored and the embracing of Afropolitanism has enabled the Yoruba voice to manifest freely alongside British culture resulting in the rediscovery, retrieval, and resurrection of the ancient Aworan practice of venerating elders in Yoruba communities. The author’s sculptural practice focusses on the joyous 1.7m life-size ultramarine blue Dr Geraldine Connor Civic Statue, the first statue of a black woman in Leeds.

A two-year AHRC-funded network exploring some writings of Wirral-born Malcolm Lowry (1909-1957) in relation to increased care for our oceans through a series of podcasts recorded during sailings between Liverpool and Isle of Man, 2021-22.

A history of background, audio CD + booklet, cantaudio033, February 2011 An edition of 1,000 audio CDs compiled by artist Alan Dunn, Associate Senior Lecturer in Contemporary Art at Leeds Metropolitan University. As the revolution dies and the grey clears, new backgrounds come into view. From the beginning of time and space at the big bang, background has been an unavoidable issue to deal with and the CD looks at the manners in which artists, writers, filmmakers, designers and musicians have creatively explored the concept of background; vanishing points, dub, bass guitar, deep space, landscape, soundtracks, Muzak, ambience, dubstep, piped music, noise and eavesdropping. The collection includes new 30-second compositions from students and staff of the School of Contemporary Art & Graphic Design, sitting alongside new works from artists such as Undark, Hannah Dargavel-Leafe and Lisa Stansbie. Completing the collection is archival material from Erik Satie, David Bowie, Brian Eno, Lee ’Scratch’ Perry, Yoko Ono, Einsturzende Neubauten, The Stupids, Michelangelo Antonioni and Andy Warhol.

Museum of water, group exhibition, curated by Amy Sharrocks, Somerset House, London and Vadehavs Festival, Denmark, 2014

Group exhibition curated by Ben Parry and Peter McCaughey, Architecture Association, London

Radio Continental Drift – The sounds of an artist with a bag, essay in online journal ‘stimulus respond’ issue 17 on theme of ‘Africa’, edited by Jack Boulton, www.stimulusrespond.com, October, 2014

From the volatile geology of the Bay of Naples to the currents of its subterranean water system, from the circulation of botanical specimens to the transmission of disease, from the movement of people to the conception of the city itself as a body: this field studio brings together artists and art historians to explore Naples as a place of interconnectivity, flow, and change. In a series of site visits and conversations, Metabolic Naples traces pathways and currents both material and imaginary, environmental and social, and rereads the city's art and architecture, cultural practices, geology, hydrology, and industry as processes of flow and transformation. Co-organized by TETI Group and the Center for the Art and Architectural History of Port Cities "La Capraia," Metabolic Naples will contribute to participants' individual research practices, and will produce a special issue of TETI Journal (n.3, Spring 2025) centered on the theme of urban metabolisms.

Publication of 'prompts' from the 'Where the Arts Belong' arts and dementia research project, 2019-23.

A history of background, audio CD + booklet, cantaudio033, February 2011 An edition of 1,000 audio CDs compiled by artist Alan Dunn, Associate Senior Lecturer in Contemporary Art at Leeds Metropolitan University. As the revolution dies and the grey clears, new backgrounds come into view. From the beginning of time and space at the big bang, background has been an unavoidable issue to deal with and the CD looks at the manners in which artists, writers, filmmakers, designers and musicians have creatively explored the concept of background; vanishing points, dub, bass guitar, deep space, landscape, soundtracks, Muzak, ambience, dubstep, piped music, noise and eavesdropping. The collection includes new 30-second compositions from students and staff of the School of Contemporary Art & Graphic Design, sitting alongside new works from artists such as Undark, Hannah Dargavel-Leafe and Lisa Stansbie. Completing the collection is archival material from Erik Satie, David Bowie, Brian Eno, Lee ’Scratch’ Perry, Yoko Ono, Einsturzende Neubauten, Michelangelo Antonioni and Andy Warhol. The CDs are being packaged by Graphic Design students and will be given away freely from January 2011.