The plethora and availability of digital tools and practices have transformed the ways art is created, perceived and disseminated. This had a distinct impact on how research is conducted across the arts and humanities as a whole from practice-led to process-focused and people-centred research. Airea's first issue "Computational tools and digital methods in creative practices" germinated from a series of research focuses that began in 2016 when the research network (sIREN) was established by PhD students in Edinburgh College of Art, the University of Edinburgh. sIREN's aim is to create a dialogue between several fields and promote new perceptions of research based on diverse methodological approaches. It seeks to form a platform of communication among arts and other disciplines, technologies and digital media, theory, practice and collaboration. For this, we organised a series seminarsworkshops during the academic year 2016-2017 that brought together invited speakers from the University of Edinburgh (across Edinburgh College of Art, School of Education, School of Informatics, Edinburgh Centre for Robotics and School of Geosciences), the University of Warwick (Centre for Interdisciplinary Methodologies), the University of Newcastle (School of Architecture, Planning and Landscape) and the National Library of Scotland, followed by an international conference in May 2017, which included an interactive format of hands-on workshops, papers and a performance session."Computational tools and digital methods in creative practices" issue was developed as a highlight of the sIREN Conference 2017: Arts and Digital Practices, which set out to explore digital practices and their impact in contemporary artistic contexts. This issue investigates creative practices at the intersection of art and digital technology, and the role of the artist in blurring this discursive entanglement, by examining emergent forms of such practices. The selected papers in this issue reflect on key practical and philosophical challenges that contribute to the broader discussion of what it means to use digital tools as a form of artistic inquiry. These include the themes of computation and the creative process, data analysis in art practice and the intersection of art and science.Panourgia et al. investigate the role of computer technology in forming and mediating a hybrid creative practice. Barahona Rios et al. survey artistic methods that rely upon the production or mapping of data-sets in their approach for identifying patterns in creative processes and in shaping this data into material form. Williams explores hybrid media installations and generative, participatory performance projects, which centre on embodied thought processes by creating open-ended connections among object, image, archive, digital process and textual material. Tenuta and Testa focus on how the boundaries between scientific method, artistic experimentation and creative process are increasingly interwoven in the contemporary scene. Stals examines ideas of design for devices and s...
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 acoustemology as described by Steven Feld, the creative processes of collaborative soundscaping practices, developed as dialogic editing, 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.
This third issue of Airea presents a second round of articles in response to our call for contributions 'Revisiting interdisciplinarity within collaborative and participatory creative practice', announced in June 2019. Following the second issue that showcased contributions from sound-related areas, the present collection focuses on the breadth of practices in art and design. The contributions in this issue surface knowledge about the way interdisciplinary methodologies and approaches influence and shape spaces and bodies within collaborative and participatory works.
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.
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