Airea: Arts and Interdisciplinary Research http://journals.ed.ac.uk/airea <p><span lang="en-US"><span id="0.23147787310204104" class="highlight">Airea&nbsp;is a peer-reviewed, open-access journal operating at the intersections between inter, trans, and multi disciplinary artistic practices and research. It</span></span><span lang="en-US">&nbsp;</span><span lang="en-US">intends to&nbsp;</span><span lang="en-US">map&nbsp;</span><span lang="en-US">i</span><span lang="en-US">nterdisciplinary</span><span lang="en-US">&nbsp;territories of forms of</span><span lang="en-US">&nbsp;</span><span lang="en-US">contemporary</span><span lang="en-US">&nbsp;art and technology</span><span lang="en-US">, with particular focus on the way artistic methodologies, aesthetics and vocabularies are shifting in response to the developing digital practices</span><span lang="en-US">. Initially&nbsp;</span><span lang="en-US">concei</span><span lang="en-US">ved</span><span lang="en-US">&nbsp;</span><span lang="en-US">to p</span><span lang="en-US">ublish</span><span lang="en-US">&nbsp;the proceedings of&nbsp;</span><span lang="en-US">sIREN's (Interdisciplinary Research Network)</span><span lang="en-US">&nbsp;Art</span><span lang="en-US">s and Digital Practices conference in 2017</span><span lang="en-US">,</span><span lang="en-US">&nbsp;this journal acts as&nbsp;</span><span lang="en-US">a channel of communication&nbsp;</span><span lang="en-US">between</span><span lang="en-US">&nbsp;artists and</span><span lang="en-US">&nbsp;practices;</span><span lang="en-US">&nbsp;concepts and t</span><span lang="en-US">ools</span><span lang="en-US">. In</span><span lang="en-US">&nbsp;doing so, we hope</span><span lang="en-US">&nbsp;</span><span lang="en-US">to more firmly embed&nbsp;</span><span lang="en-US">a critical framework of interdisciplinary research</span><span lang="en-US">&nbsp;</span><span lang="en-US">into&nbsp;</span><span lang="en-US">contemporary</span><span lang="en-US">&nbsp;arts discourse.&nbsp;Airea welcomes contributions responding to our bianual calls for submissions and publishes special issues to accommodate materials from the activities of sIREN and RAFT research networks of Edinburgh College of Art.&nbsp;</span></p> <p>&nbsp;</p> The University of Edinburgh en-US Airea: Arts and Interdisciplinary Research 2516-8061 <p>Please ensure that you have read our <a href="/airea/about/policies#openAccessPolicy">Open Access, Copyright and Permissions policies</a> and agree to their terms.</p> Editorial http://journals.ed.ac.uk/airea/article/view/5038 <p>Over the past two decades, collaboration has emerged as a keyword and an important methodological and ethical concern in various disciplines, which has nurtured interdisciplinary approaches that often encompass innovative processes of knowledge production. In sonic practice, trends such as participatory art, the workshop turn, and ideas of Do-It-With-Others contributed to the emergence of creative processes that manifest within the sphere of inter-human relations through participation and collaboration. Such processes can operate beyond the institutional space, or classic studio and gallery settings, by engaging directly with the social realm; blurring the lines between art, performance and our lived social, political, economic, technological and environmental realities. How are interdisciplinary practices, methodologies and vocabularies shaping the way sound and music works are created and experienced? How does this search for knowledge change sonic practice? The second issue of Airea Journal explores these questions by presenting practice-based and theoretical contributions of collaborative interdisciplinary creative processes in sound. This special focus on sound is addressed from multiple perspectives in relation to compositional, audiovisual, social, political, environmental, participatory and performative standpoints. This is a move that pays attention to and interrogates the aesthetics, methodologies and politics of interdisciplinary sonic practices. The sound arts often involve more than one disciplines and in order to study and comprehend them, an interdisciplinary approach is demanded. Many sound artworks are more than just (about) sound or sounds. Consequently, no single discipline is able to fully encompass how sound as affective and vibrant matter can be both reflexive and constitutive of social, cultural, political, religious, ethical, and perhaps even biological or cognitive developments. Sound can be investigated from almost any angle, and the articles in the present issue include numerous disciplines and subjects.</p> Sophia Lycouris Eleni Ira Panourgia Katerina Talianni Jack Walker ##submission.copyrightStatement## http://creativecommons.org/licenses/by/4.0 2020-10-07 2020-10-07 2 1 4 10.2218/airea.5038 Music – Bodies – Machines http://journals.ed.ac.uk/airea/article/view/5041 <p>This article provides an overview of the <em>Music – Bodies – Machines: Fritz Kahn and Acousmatic Music</em> project and accompanying suite of music – <em>Der Industriepalast.&nbsp; </em>The project is inspired by the work of infographics<em> pioneer Fritz Kahn (1888-1968) </em>who developed works such as <em>Der Mensch als Industriepalast. </em>There is a body of work examining Kahn’s work (Sappol, 2017; Von Debschitz, 2017; Doudova, Jacobs, et al.) that has revealed Kahn’s intent of making the human anatomy accessible to the non-specialised reader through visual metaphors; unlike the descriptive anatomical illustrations of the eighteenth and nineteenth centuries, which show how the human body looks, Kahn’s works visually explain how internal structures work using concepts, metaphors, and allusions.</p> <p>This article explores some of the ways in which Kahn’s striking visual images have inspired the composition of five novel acousmatic works of music.&nbsp; The article starts with a survey of existing works making use of similar, extra-musical influences to examine how extra-musical influences such as infographics and painting may influence the formal design of acousmatic music.&nbsp; It goes on to consider how, exactly, the infographics of Fritz Kahn have been used within the project.&nbsp; In some cases, this guides the choice of particular materials (such as the sound of a beating heart to represent an image of a heart monitor), but in other cases, there is influence on phrasing, placement, and even the formal design of entire pieces.</p> <p>Taken as a whole, the article seeks to explore the following questions; 1) What impact does the context of a particular image have on a composers’ response? 2) How do composers respond to visual stimuli in acousmatic music?&nbsp; What is their compositional process? 3) How do such parallels between the specific sonic and visual examples offer new interdisciplinary insight to artistic practices and research? 4) How do sound recording techniques inform acousmatic music and generate new creative processes that operate within the sphere of human-machine relations?</p> Martine Louise Rossiter ##submission.copyrightStatement## http://creativecommons.org/licenses/by/4.0 2020-10-07 2020-10-07 2 5 22 10.2218/airea.5041 Composer-composer collaboration and the difficulty of intradisciplinarity http://journals.ed.ac.uk/airea/article/view/5042 <p>Research and practice involving parties from different disciplines is of increasing importance in many fields. In the arts, this has manifested itself in both increasing attention on established collaborative partnerships – composers, for example, collaborating with writers, choreographers and directors – and a move towards more overtly cross-, multi-, inter- and/or trans-disciplinary forms of working – a composer working with a physicist, philosopher or psychologist. Composer-composer partnerships are far less common, meaning intradisciplinary collaboration is little explored in relation to practice research in music.</p> <p>This article takes the collaborative music theatre composition <em>I only know I am</em> (2019) created by the authors – Litha Eftythmiou and Martin Scheuregger – as a case study, outlining the issues and opportunities that arise through combining two compositional practices in an effort to create a single artistic output. Ways in which the composers managed this process are detailed in the context of communication, technology, and the issue of tacit knowledge (of both individual compositional process and the working of intradisciplinary collaboration). In particular, reflections on their experience during a week-long residency, in which they collaborated on a single musical work, is discussed in order to understand to what extent two aesthetic approaches can be reconciled to create work satisfactory to both parties.</p> <p>Notions of composition as an inherently collaborative process are used to contextualise the means by which composer-composer collaborations might be understood. The authors reflect on an understanding of intradisciplinarity in the context of their practice as composers in order to draw conclusions that will allow them, and others, to approach composer-composer collaboration in an informed manner.</p> Martin Scheuregger Litha Efthymiou ##submission.copyrightStatement## http://creativecommons.org/licenses/by/4.0 2020-10-07 2020-10-07 2 23 35 10.2218/airea.5042 Åčçëñtß http://journals.ed.ac.uk/airea/article/view/5043 <p>In 2018 I was appointed to the position of Glasgow’s first UNESCO City of Music artist-in-residence. Over the course of a year I worked with numerous community groups and choirs across the city to collaboratively devise and realise a new choral/film work, titled <em>Åčçëñtß</em>, which was performed by an audience of over three hundred and fifty people at its premiere at the Glasgow Royal Concert Halls in 2019. <em>Åčçëñtß</em> explores <em>accents</em> as a sonorous social matter – staccatos and lilts, patterns of difference in our voices, as sonic markers of place and community – sounds that I have come to understand as resonating between our individual and collective identities. This paper presents some of the thoery orientating my compositional praxis, <em>speaking nearby</em> a reflective account of some of the compositional considerations and processes undertaken through the project. Through it I explore Karen Barad’s methodology of <em>diffractive</em> thought, Trinh T. Minh-ha’s notion of <em>speaking nearby </em>within the<em> interval</em>, Pauline Oliveros’ practice of <em>Deep Listening, </em>thinking towards how these might meet through my praxis to come close to Timothy Corrigan’s <em>Refractive Cinema</em>. <em>Åčçëñtß</em> speaks to the complexity of authorship and agency in distributed, collaborative composition and the motive relationships between sound and image, spectacle and spectator – between the individual and the communal.</p> Richy Carey ##submission.copyrightStatement## http://creativecommons.org/licenses/by/4.0 2020-10-07 2020-10-07 2 36 48 10.2218/airea.5043 Embodied Complexity in Choral Singing http://journals.ed.ac.uk/airea/article/view/5044 <p class="RSCB01ARTAbstract" style="line-height: normal;"><span style="font-size: 11.0pt;">Amateur musical ensembles draw participants from widely varying disciplines into shared artistic activity in a way that few other artforms do; in particular, choral music, in which bodies both create and directly receive sound, raises profound questions of how performers’ uniquely embodied creative approaches interact. Amateur choral singing therefore offers a lens into how musical creativity is distributed among, and emergent from, a diverse group of individuals. This article explores how the performance of indeterminate and improvisatory choral works offers a powerful example of this distributed creative agency via a network of sounding bodies.</span></p> <p class="RSCB01ARTAbstract" style="line-height: normal;"><span style="font-size: 11.0pt;">This article centres on a case study (March–October 2017) involving three British amateur choirs in the performance of improvisatory choral scores by Kerry Andrew (2005) and Cornelius Cardew (1968–70). Complexity Theory (Davis and Sumara 2006) offers a useful framework for understanding how creative impulses and constructions interact; both the vocal expression and corporeal receipt of these creative ideas occurs in an embodied way, drawing on dance and embodiment theory (Sheets-Johnstone 2009, Downey 2002). The research process and qualitative-data-processing methodology (Charmaz 2014) of the case study are described, before findings are laid out with a view to how they point towards ideas of embodied, complex interaction. These findings offer an important, and hitherto unexplored, view into how Complexity Theory (a common theoretical framework in other fields across the sciences and humanities) might usefully describe musical performance. In transcending attempts to atomise ensemble interaction according to shared intellectual knowledge and verbal communication, the complex, embodied interaction of diverse singers, through the physical connection of sound, might involve those singers in the distributed authorship of a musical work.</span></p> Daniel Galbreath ##submission.copyrightStatement## http://creativecommons.org/licenses/by/4.0 2020-10-07 2020-10-07 2 49 62 10.2218/airea.5044 The soundscape of Anthropocene http://journals.ed.ac.uk/airea/article/view/5037 <p>Recently, much attention has been paid to the many different forms of collaborative or participatory practice both within, and out with the academy; from practice-based research to theoretical contributions and artistic experimentations. In terms of <em>acoustemology</em> as described by Steven Feld, the creative processes of collaborative soundscaping practices, developed as <em>dialogic editing</em>, produce theories of sound as knowledge production. Within this trend of doing anthropology in sound, sound art works aim to reconnect communities to the environment and indicate the emergence and presence of an ecological and aesthetic co-evolution. Such projects, in fostering interdisciplinary approaches, allow the development of hybrid types of knowledge through dialogic exchanges, and engage multiple agents by developing audile techniques. They also raise interesting questions within collaborative and interdisciplinary creative practice, in relation to the critical examination of the instrumentality of collaboration. By focusing on field recordings and soundscape compositions this paper discusses ecological sound art works that use collaborative creativity, new technologies, and phenomenological listening, to produce dialogic and collaborative forms of epistemic and material equity. These sound art works are the result of complex expressions of creative processes that involve multiple agents, while successfully voice their authorial presence. The interdisciplinary, collaborative and open-ended nature of these projects brings forward the social and political dimension of sound and listening, which could figure in more collaborative forms of knowledge production and inspire climate action.</p> Katerina Talianni ##submission.copyrightStatement## http://creativecommons.org/licenses/by/4.0 2020-10-07 2020-10-07 2 63 76 10.2218/airea.5037