This third issue of Reflection on Process in Sound is a particularly satisfying one, featuring six substantial articles across a range of sound related practices. With it I hope that the journal continues to provide a useful space where artists can share experiences, views, and contribute more openly and directly to sound arts discourse. The fact that issue one and issue two each received over 500 downloads in their first months indicate to me that there is a real interest in reading such expressions!
In 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.
Last but not least, 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.