In the fifth issue of Reflections on Process in Sound, Trish Scott considers The Making of ‘Medium’, an installation for the Whitstable Biennale 2016 based on predictions by a number of psychics about what kind of work the author might produce; improviser and poet Jude Cowan Montague explores how she is Re-performing the Role of the Female Backing Singer; in On Dis-location: Listening and Re-composing with Others, Ximena Alarcón reflects on working with aspects of migration and dislocation, focusing on improvisatory sound practice when listening and performing remotely via networked technologies; James Webb investigates All the Unseen Things, addressing issues of religious expression, migration and environmental concerns; Cathy Lane contributes her Manifesto For New Listening.
In the fourth issue of Reflections on Process in Sound, Chris Weaver considers the development of Variations for Rooms and a Tone during a collaborative residency with Fari Bradley in Dubai, United Arab Emirates; SoundFjord‘s Helen Frosi and Stephan Barrett muse about their collaborative project Postcards from the Volcano; Melbourne based Catherine Clover gives us an example of her species-spanning listening practice; Salomé Voegelin and David Mollin explore their writing practice via the transcript of a talk for Nietzsche, Cyclists and Mushrooms at the Kunstraum Riehen in Switzerland; Magz Hall introduces,Tree Radio, an out-door installation at Yorkshire Sculpture Park.
In the third issue of Reflections on Process in Sound, Viv Corringham gives an account of how her ongoing series Shadow-walks came about, as an amalgam of singing and walking; jez riley french considers 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; Michelle Lewis-King explains how and why her Pulse Project blends accupuncture with sound; Jo Hyde considers his take on visual music; Rob MacKay discusses the parameters of the world’s first concert for artificial and human voices.
The second issue of Reflections on Process in Sound features 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.
The first issue of Reflections on Process in Sound features 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, and a short text on sonic materiality by Rahma Khazam.