Reflections on Process in Sound

 

Welcome to  Reflections on Process in Sound, a magazine curated by Iris Garrelfs as part of her research into processes in sound arts practice. It focuses, therefore, on sound related activities but will also branch out into adjacent territories with the aim to provide a forum where artists can engage in discussions about how they create the work they do, what their practices are influenced by and how their ideas manifest themselves within the final artwork. We are getting a new home! Find us at  http://reflections-on-process-in-sound.net.

facebookLike it on Facebook

issue 3:

Click here to download Reflections on Process in Sound (3)
or read via issuu.com [with Android option]

This third issue of Reflection on Process in Sound is a particularly satisfying one, featuring six substantial articles across a range of sound related practices. With it I hope that the journal continues to provide a useful space where artists can share experiences, views, and contribute more openly and directly to sound arts discourse. The fact that issue one and issue two each received over 500 downloads in their first months indicate to me that there is a real interest in reading such expressions!

In this issue, Viv Corringham gives an account of how her ongoing series Shadow-walks came about, as an amalgam of singing and walking, followed by jez riley french considering three specific trips he took this year to record telefericas, geological dissolves and other fascinations in Italy and Iceland. Felicity Ford explores how wool and sound come together for her in her project KNITSONIK, with some excursions into feminist concerns, whilst Michelle Lewis-King explains how and why her Pulse Project blends accupuncture with sound. Last but not least, Jo Hyde, who’s Seeing Sound symposium at Bath Spa University has been very inspiring over the last few years, is considering his take on visual music – how sound and vision connect for him, and Rob MacKay disusses the parameters of the world’s first concert for artificial and human voices in January 2013 .

 

issue 2:

Click here to download Reflections on Process in Sound (2)
or read via issuu.com [with Android option]

It has been a long while since the first issue of Reflections on Process in Sound, but, finally, here is the second issue! RoPiS #2 examines process in two ways: Two articles are first person reports making personal process transparent and three articles contain interviews and conversations between artists/ curators.

In the former category falls a reflection by sound artist and photographer Tansy Spinks, providing insights into her process creating site- specific performances, and an annotated journal entry by Maria Papadomanolaki showing this specific facet of process in operation.

In the conversation between Lucia Farinati and Claudia Firth the artists consider process on the cusp of curating and creating. Following on from there Lucia then discusses the process of a specific work, Come una possibilità di incontro on radio bip bop with two of the stations curators, Rita Correddu and Elena Biserna. Both pieces revolve, at least to some degree around Autoritratto by Italian feminist Carla Lonzi. They are companion pieces, with some areas of overlap and some extensions, and highlight a necessity to incorporate relationships into artistic critique. In doing so the authors insert the creative process into the role of the curator, ultimately blurring the line between the creator and critic. Its seems poignant that within sound art, many of its theorists are also artists, for example David Toop, Salome Voegelin, or Brandon LaBelle. Brandon LaBelle was interviewed by Anna Raimondo where  he point out the increasing need of debates about process.

– an interview with Brandon LaBelle by Anna Raimondo
Tansy Spinks reflects on her process creating site- specific performances
– a conversation between Lucia Farinati and Claudia Firth considering process on the cusp of curating and creating
– Rita Correddu, Elena Biserna and Lucia Farinati examine a project of readings of ‘Autoritratto’ by Italian feminist Carla Lonzi
– an annotated journal entry by Maria Papadomanolaki

 

issue 1:

Click here to download Reflections on Process in Sound (1)
or read via issuu.com [with Android option]

Reflections cover image

Welcome to this first issue of  Reflections on Process in Sound, a magazine curated by Iris Garrelfs as part of her PhD research into the creative processes sound artists engage in. It focuses, therefore, on sound related activities but will also branch out into adjacent territories with the aim to provide a forum where artists can engage in discussions about how they create the work they do, what their practices are influenced by and how their ideas manifest themselves within the final artwork. The first issue of Reflections on Process in Sound offers a variety of themes and perspectives:

– an interview with Alvin Lucier by Louise K. Wilson
– a survey of collaborative working methods by the Sound & Motion Improvisation Research Group in Helsinki
– a reflection on audio-visual relationships in live performance by Matthias Kispert of D-Fuse
– a discussion of a sound/sculptural work by Mike Blow
– an investigation of feminist strategies emerging from the Her Noise project by Holly Ingleton
– a short text on sonic materiality by Rahma Khazam