Almost all researchers collect and preserve metadata, although doing so is often seen as a burden... more Almost all researchers collect and preserve metadata, although doing so is often seen as a burden. However, when that metadata can be, and is, used actively during an investigation or creative process, the benefits become apparent instantly. Active use can arise in various ways, several of which are being investigated by the CREAM project, which was funded by Jisc as part of their Research Data Spring initiative. CREAM stands for Collaboration for Research Enhancement by Active use of Metadata and the project is exploring the concept through understanding the active use of metadata by the partners in the collaboration. This paper explains what it means to use metadata actively and describes how the CREAM project characterises active use by developing use cases that involve documenting the key decision points during a process. Well-documented processes are accordingly more transparent, reproducible, and reusable.
This paper is based on a practice-led PhD research project conducted at CRiSAP, University of the... more This paper is based on a practice-led PhD research project conducted at CRiSAP, University of the Arts London. In this research, a theory of cog-nition, conceptual blending (Fauconnier and Turner 2003), was applied to the investigation of process in sound art practice, resulting in the model of procedural blending (Garrelfs 2015). Conceptual blending posits that everyday, subconscious activities such as cross-domain mapping are involved in combining elements from a range of inputs into new concepts. Procedural blending borrows from and extends conceptual blending to create a tool for considering and articulating process , allowing artists to foreground their own voices within discourse. Through the notion of inputs, which are blended through an iterative process of making into outputs, procedural blending illustrates how new work is created. Inputs can be drawn from diverse, even dissimilar categories , including media, genres, technologies, approaches, and even personal aspects such as emotions or personality traits can be considered as an input. As a consequence, this research also extends the notion of process to include all that artists might encounter in their lives.
This practice-based thesis aims to expand sound art discourse by considering process in sound art... more This practice-based thesis aims to expand sound art discourse by considering process in sound art practice through an exploration of artists’ experiences.
There is still relatively little debate about or critical reflection on the location or nature of process in contemporary sound art’s discourse. This thesis addresses this lack of debate and reflection by developing a framework through which artists can explore and then communicate their perspectives in order to extend sound art discourse. Three key areas emerge from this approach: process, practice and discourse. This thesis investigates how they relate to and interact with each other.
In order to explore process, I have borrowed from and extended concepts from the model of conceptual blending, a theory of cognition developed by Gilles Fauconnier and Mark Turner in The way we think: conceptual blending and the mind’s hidden complexities (2002). Through the notion of inputs, which are blended through process into outputs, the model of procedural blending, adapted from conceptual blending, illustrates how new meaning is created, providing a basis for the investigation of process in sound art practice for inclusion in its discourse.
This exploration is carried out through a modular approach to methodology, which I have termed Modular Field Methodology. I first examine my own past and current work, which offers me the opportunity directly to observe process within my practice and to observe how new themes and views emerge from an engagement with new inputs. The examination of my past and current work also provides a space to gain a deeper understanding of procedural blending in sound art practice. This ‘introspective approach’ is then calibrated by an investigation of the practice of other artists, through collaborative workshops, interviews and an online magazine, each providing different spaces for a wide range of practitioners’ voices reflecting on the diversity and complexity of multimodal sound art practice.
Almost all researchers collect and preserve metadata, although doing so is often seen as a burden... more Almost all researchers collect and preserve metadata, although doing so is often seen as a burden. However, when that metadata can be, and is, used actively during an investigation or creative process, the benefits become apparent instantly. Active use can arise in various ways, several of which are being investigated by the CREAM project, which was funded by Jisc as part of their Research Data Spring initiative. CREAM stands for Collaboration for Research Enhancement by Active use of Metadata and the project is exploring the concept through understanding the active use of metadata by the partners in the collaboration. This paper explains what it means to use metadata actively and describes how the CREAM project characterises active use by developing use cases that involve documenting the key decision points during a process. Well-documented processes are accordingly more transparent, reproducible, and reusable.
This paper is based on a practice-led PhD research project conducted at CRiSAP, University of the... more This paper is based on a practice-led PhD research project conducted at CRiSAP, University of the Arts London. In this research, a theory of cog-nition, conceptual blending (Fauconnier and Turner 2003), was applied to the investigation of process in sound art practice, resulting in the model of procedural blending (Garrelfs 2015). Conceptual blending posits that everyday, subconscious activities such as cross-domain mapping are involved in combining elements from a range of inputs into new concepts. Procedural blending borrows from and extends conceptual blending to create a tool for considering and articulating process , allowing artists to foreground their own voices within discourse. Through the notion of inputs, which are blended through an iterative process of making into outputs, procedural blending illustrates how new work is created. Inputs can be drawn from diverse, even dissimilar categories , including media, genres, technologies, approaches, and even personal aspects such as emotions or personality traits can be considered as an input. As a consequence, this research also extends the notion of process to include all that artists might encounter in their lives.
This practice-based thesis aims to expand sound art discourse by considering process in sound art... more This practice-based thesis aims to expand sound art discourse by considering process in sound art practice through an exploration of artists’ experiences.
There is still relatively little debate about or critical reflection on the location or nature of process in contemporary sound art’s discourse. This thesis addresses this lack of debate and reflection by developing a framework through which artists can explore and then communicate their perspectives in order to extend sound art discourse. Three key areas emerge from this approach: process, practice and discourse. This thesis investigates how they relate to and interact with each other.
In order to explore process, I have borrowed from and extended concepts from the model of conceptual blending, a theory of cognition developed by Gilles Fauconnier and Mark Turner in The way we think: conceptual blending and the mind’s hidden complexities (2002). Through the notion of inputs, which are blended through process into outputs, the model of procedural blending, adapted from conceptual blending, illustrates how new meaning is created, providing a basis for the investigation of process in sound art practice for inclusion in its discourse.
This exploration is carried out through a modular approach to methodology, which I have termed Modular Field Methodology. I first examine my own past and current work, which offers me the opportunity directly to observe process within my practice and to observe how new themes and views emerge from an engagement with new inputs. The examination of my past and current work also provides a space to gain a deeper understanding of procedural blending in sound art practice. This ‘introspective approach’ is then calibrated by an investigation of the practice of other artists, through collaborative workshops, interviews and an online magazine, each providing different spaces for a wide range of practitioners’ voices reflecting on the diversity and complexity of multimodal sound art practice.
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Papers by Iris Garrelfs
There is still relatively little debate about or critical reflection on the location or nature of process in contemporary sound art’s discourse. This thesis addresses this lack of debate and reflection by developing a framework through which artists can explore and then communicate their perspectives in order to extend sound art discourse. Three key areas emerge from this approach: process, practice and discourse. This thesis investigates how they relate to and interact with each other.
In order to explore process, I have borrowed from and extended concepts from the model of conceptual blending, a theory of cognition developed by Gilles Fauconnier and Mark Turner in The way we think: conceptual blending and the mind’s hidden complexities (2002). Through the notion of inputs, which are blended through process into outputs, the model of procedural blending, adapted from conceptual blending, illustrates how new meaning is created, providing a basis for the investigation of process in sound art practice for inclusion in its discourse.
This exploration is carried out through a modular approach to methodology, which I have termed Modular Field Methodology. I first examine my own past and current work, which offers me the opportunity directly to observe process within my practice and to observe how new themes and views emerge from an engagement with new inputs. The examination of my past and current work also provides a space to gain a deeper understanding of procedural blending in sound art practice. This ‘introspective approach’ is then calibrated by an investigation of the practice of other artists, through collaborative workshops, interviews and an online magazine, each providing different spaces for a wide range of practitioners’ voices reflecting on the diversity and complexity of multimodal sound art practice.
There is still relatively little debate about or critical reflection on the location or nature of process in contemporary sound art’s discourse. This thesis addresses this lack of debate and reflection by developing a framework through which artists can explore and then communicate their perspectives in order to extend sound art discourse. Three key areas emerge from this approach: process, practice and discourse. This thesis investigates how they relate to and interact with each other.
In order to explore process, I have borrowed from and extended concepts from the model of conceptual blending, a theory of cognition developed by Gilles Fauconnier and Mark Turner in The way we think: conceptual blending and the mind’s hidden complexities (2002). Through the notion of inputs, which are blended through process into outputs, the model of procedural blending, adapted from conceptual blending, illustrates how new meaning is created, providing a basis for the investigation of process in sound art practice for inclusion in its discourse.
This exploration is carried out through a modular approach to methodology, which I have termed Modular Field Methodology. I first examine my own past and current work, which offers me the opportunity directly to observe process within my practice and to observe how new themes and views emerge from an engagement with new inputs. The examination of my past and current work also provides a space to gain a deeper understanding of procedural blending in sound art practice. This ‘introspective approach’ is then calibrated by an investigation of the practice of other artists, through collaborative workshops, interviews and an online magazine, each providing different spaces for a wide range of practitioners’ voices reflecting on the diversity and complexity of multimodal sound art practice.