Writing. My sonic and visual work starts from a poetic intuition that transforms into a text. On other occasions, reading makes me want to experiment with sounds or images. In some way or another, my creative processes are triggered by writing or reading some meaningful text.
I like to feel what I am working on. I enjoy mediums that connect me directly with my work: clay, paper sets and the natural sound of acoustic guitar, with as little filters or electronic improvements as possible.
Taking for granted that the body is the primal tool, well, the second tool I use most is pencil and paper, as the origin of all my works is basically conceptual and I use to note my ideas down, sketch or storyboard wherever I am.
Benna Gaean Maris
Editing my works with printed out still images before using the computer.
Jonathan Onsuwan Johnson
Max/msp based sound sculpture -#maxmsp #procedural #generative #electroacoustic #soundsculpture #soundart #composition
Oleg Kharch Group
While not a tool by strict definition, the accident plays an important role in my process and it is something I have learnt to embrace when stumbled upon. It usually begins by noticing a commonality, or at least a similarity, amongst unrelated and disparate images, and then collating them to create a sense of unity. For me, this consistent sense of unity is generated through the grid, which is, by default, the visual structure that lies at the heart of a lot of my work. I have a very unhealthy obsession with the grid. The grid, for me, is the logical way to collect, compile, and curate found imagery. It even influences my photographic work—which differs slightly from my web-based appropriation work—where I manipulate the way we digest digital media via the pixel array. I like the grid because it creates a sense of meaning and order out of unconnected and unrelated imagery. It also allows for limitless growth, which is important given most of my projects are ongoing. I’m philosophically obsessed with the Absurd—the fundamental disharmony between our search for meaning and the meaninglessness of the universe—so I enjoy asking questions more than I do trying to find possible answers.
I would say both a blade and then to accompany it, any liquid material that can be used as an adhesive. I love the idea of pulling things apart and putting them together again to rebuild, remake, and make anew-- and that the history is embedded in the structure.
Ecco / Aquí [Nancy Y. Kim]
My cell phone is my all day, everyday, every tool. Despite having better equipment, I always have my phone on me, and frequently use it to record sound and video, take photos, and jot down notes and voice memos.
Ecco / Aquí [Sarah Crofts]
The tool I currently use the most is a needle and thread.
My Sony MiniDisc Recorder works its way into everything I do. I record and perform with it. The sound quality is great, and it's really fun to play.
Reading one-on-one interviews taken with creative pioneers.
The one tool I use most in my practice these days, my smartphone, with which I am able to do many things for my work, such as record sounds and also record and film images. I use the smartphone as an ambulant device that allows me to register things in a spontaneous way.
I use 3d, and editing software
What cannot be expressed by one software is used in two or more
Lim Jang Guin
When I am not working with my hands, I am working with my computer.
The Self-Organizing Map machine learning algorithm.
Sound! Sound (and silence) are very important to me.
The base for my creative process is content appropriation, so collecting everything that catches my heart and senses through recording sounds and screens, saving files, taking notes, etc.
Over the past two years, I have primarily relied on digital modeling, rendering, and film methodologies to digitally restore Palestinian urban-communal memories in architectural representation.
Zain Al Sharaf Wahbeh
The self-portrait is the main expedient to resolve the union between the three media present in my artistic research, painting, sound and video.
In sound, a tool I use most is a saw (also known as a singing saw). I’ve been using this for the past 14 years, and it has made its way into much of my sound and soundtrack work; one thing I really enjoy about the saw is that it’s an unexpected instrument, since its history is obviously more as hardware than an expressive object. As a result, I’ve tried to use it in unpredictable and colorful ways in my sound work, and occasionally it has made its way into visual work as well.
Currently I am combining several techniques according to the work I do: digital art, electrographic engraving and video art
Duplication! If I’m working with one image, my first thought is always to see how it would look if it was replicated twice, ten or maybe fifty times over in one frame. A Warhol syndrome, maybe. It really helps reimagine the space a moving object takes up in time and is a great way to experiment with composition.
I would have to say that the one tool I use the most in my practice is paper, mainly because I do a lot of paper-based work. And since most of my projects, regardless of the medium, start as written, sketched and vaguely thought out ideas on paper.
The tools I use the most are software to enhance audio and video.
My voice, piano, zoom h5, and cut and paste functions! Just one though? Voice.
My eyes to observe, find patterns, make sequences, visualise forms, see truths.
I guess my camera, since it either produces the visual work or is documenting part of the process.
My Pink Wig.
I work predominantly with programming, but I like to experiment with several mediums such as 3D modeling, photography, and sound. At this moment for example, I'm starting to experiment with video art; so i think I'm kind of eclectic in digital media because of the manual arts. I think I'm actually very limited by my pretensions on the results and not really by my manual skills, so the digital lets me move more freely.
Any screen or voice recording tool.
My notebooks. I write artwork ideas, inspirations and dreams.
Jéssica Pereira Gaspar
I do not use one specific tool-instrument-machine-medium in my practice, instead, I focus on my instant auditorial imagination and differentiation of my listening, then create a method and set of apparatuses that can actualize my personal creative experiences on that specific moment to share with my audience and myself, to remember in the future.
Two stones, pulled from a river in 1999 Bellows Falls, scraped very slowly.
Since 2018, I use the free software Processing to create my artworks.