Editorial by
Cover photo
Courtesy of Eirik Brandal
This sixth edition of The Vessel is an insight into the world of craftsmanship in relation to sound and performance. We immersed ourselves in this large field, and were met by an exciting, diverse, wide-ranging, and cross-disciplinary area, a small selection of which is represented in this edition.
Through conversations and knowledge exchange with colleagues who work in these intersectional fields, we have come across many interesting and different tracks in our research — from a 60,000-year-old flute made by a Neanderthal out of cave bear bone, to Tom Sachs’ plywood space programme.
Early on in this editorial process we decided not to impose a strict framework, but rather to embrace a wide range of projects, allowing each contributor space to tell their story, process, and field of interest. We wanted to emphasize what (in our eyes) is special about these themes in craft, which is as diversity through cross-disciplinary practices.
Our selection for this edition consists of musicians, circuit makers, dancers, composers, gatherers, instrument makers, scenographers, listeners, noise makers, inventors, and writers. Some of them were surprised to be asked to contribute, because they did not necessarily see their connection to craft as this is not their main focus, but rather a component of their practice.
It will always be a challenge to present something as tactile as craft on a digital surface like The Vessel; especially when we introduce sound and performativity, the challenge becomes multifaceted. This is something we have discussed throughout the process, and we have had an open dialogue with all contributors to find the best possible way for presenting their works. Fortunately for us, video is something most people use as a documentation method. In our eyes, this is as close as we can get with available technology. Nothing can compete with experiencing a work live, especially works that trigger multiple senses. If you get the chance, you should go see these works in person!
We think of the contributors as modulators. Some shape the field of craft to their needs based on their interests, others merge these into something that feels like it has always been. We see this as a powerful force to move the field forward.
It has been important for us to bring the reader to the edge of what craft can be. Not to start a discussion about what craft is, but rather to show the many opportunities that lie within working in this intersectional field.
We both work with electronics in our respective artistry and have had a desire to show how much precision, time, and yes, craftsmanship, there is in this field as well. This brings us to the title of this edition of The Vessel, Modulating Craft. Modulation is a term used in audio signal processing. The term describes a process where one signal modulates (varies) another signal. Together, they become a combination of both.
We think of the contributors as modulators. Some shape the field of craft to their needs based on their interests, others merge these into something that feels like it has always been. We see this as a powerful force to move the field forward.
As a supplement to the issue, we would like to present a small cloud of references which gives an insight into our process. We would like to clarify that this is in no way a map of the entire field, more a little brain extraction of the process of curating this edition of The Vessel.
We are really thankful to all the great people who have given us tips and insights along the way. Thank you so much for the collaboration of all the contributors to this edition, and a big thank you to The Vessel for your trust, and for letting us balance a little on the edge at times.
Glaumr
Sound piece made made by Krissy Mary
– Composed and played by Krissy Mary
– Mixed by Thomas Bergsten
– Mastering by RedRedPaw Mastering
Connecting Craft, Performativity, and Sound
by Norwegian Crafts
Modulating Craft
by Pearla Pigao and Stian Korntved Ruud
No Nodes – Speaking to the Land
by Sebastian Rusten and Carsten Aniksdal
Becoming Elastic
Nicholas Norton
Elastic Imprints and Fluid Forms
by Malin Bülow
Phonotope 4 – a Sounding Landscape
by Rolf Walin, SISU and Carle Lange