Das Format Audio Paper wurde von Sanne Krogh Groth und Kristine Samson während des Seminars Fluid Sounds als Teil der PSi (Performance Studies international) Konferenz Fluid States 2015 entwickelt: ““Underlining listening, sensing and experiencing as part of research processes, we wish to combine art and knowledge. FLUID SOUNDS is not only an exploration of how to gain knowledge through site-specific audio performance, it is also a conference that transforms academic knowledge into performances, and performances into situated aesthetic knowledge.” [http://fluidsounds.ruc.dk/about]
2016 publizierten die Autorinnen Audio Papers – a manifesto im dänischen Web Magazin Seismograf, das sich zeitgenössichen Auseinandersetzungen innerhalb der Sound Arts widmet. Zitat aus dem Vorwort: “Audio papers resemble the regular essay or the academic text in that they deal with a certain topic of interest, but presented in the form of an audio production. The audio paper is an extension of the written paper through its specific use of media, a sonic awareness of aesthetics and materiality, and creative approach towards communication. The audio paper is a performative format working together with an affective and elaborate understanding of language. It is an experiment embracing intellectual arguments and creative work, papers and performances, written scholarship and sonic aesthetics.”
Das Manifest postuliert acht Kriterien, die das Audio Paper als künstlerisch-wissenschaftliche Publikation auszeichnet:
1. The audio paper affords performative aesthetics.
2. The audio paper is idiosyncratic.
3. The audio paper is situated and partial.
4. The audio paper evokes affects and sensations.
5. The audio paper is multifocal; it assembles diverse and often heterogeneous voices.
6. The audio paper has multiple protagonists, narrators and material agencies.
7. The audio paper brings aesthetics and technology together in mediation.
8. The audio paper is a constituent part of broader ecologies.
Im 2019 erschienenen Artikel The audio paper – From situated practices to affective sound encounters positionieren Krogh Groth und Samson das Audio Paper zwischen ethnografischer Feldarbeit, Oral History und Künstlerischer Forschung.
Seismograf veröffentlicht regelmässig peer-reviewed Audio Papers. Sehr hörenswert ist u.a. das Audio Paper Listening and not listening to voices von Cathy Lane.
Weitere Links zu Audio Paper.