Reflections on Process in Sound Issue 3
Reflections on Process in Sound aims to provide a platform where artists from a variety of backgrounds (academic and non-academic) can share how they work, what their practices are influenced by and how their ideas manifest themselves within the final artwork. The journal focuses on sound related ac...
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| Format: | Text |
| Language: | English |
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2014
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| Online Access: | https://research.gold.ac.uk/id/eprint/24222/ https://research.gold.ac.uk/id/eprint/24222/1/Reflections_on_Process3.pdf http://www.reflections-on-process-in-sound.net |
| Summary: | Reflections on Process in Sound aims to provide a platform where artists from a variety of backgrounds (academic and non-academic) can share how they work, what their practices are influenced by and how their ideas manifest themselves within the final artwork. The journal focuses on sound related activities but also branches out into adjacent territories. n 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. 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. |
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