This fourth issue of Volume comes under the aegis of the double. Somewhere between duality and dialogue, the praxis of certain artists is illustrated as much by way of music as through the visual arts. The repeat, which is rooted in particular in the musical key, reflects the different processes of translation and transformation involved in the copy. In this dialectic that is set up between difference and repetition, interpretation is a decisive factor. It refers, needless to say, to music, theatre and film, all disciplines which involve working from an already existing script, score or theme, appropriating a material, and transcribing it in a more or less subjective way.
In relying on this twofold definition of interpretation, some artists challenge the audience's status and behaviours as much as the systems and forms of the discourse introduced for its attention, and they reveal at the same time that they thwart our inclination to believe and accept – often unwittingly – the rules, comments and other instructions that are presented to us to read and hear.
Volume –
What You See Is What You Hear is the first magazine devoted to
sound issues in art, and to the complex relationships between visual and sound forms, both in contemporary art and history.
Volume is neither a musical magazine, nor a magazine about sound art; rather, it sees sound from the angle of
the visual arts.
The history of relations between sound and art is not recent, but the past few years have seen
many more works, exhibitions, publications and other events whose aesthetic and theoretical content attests to a
growing interest in this medium, and the various ways it is used. Through a broad range of critical and artistic
contributions, it is
Volume's intent to represent a platform observing and analyzing this dynamic, while at the
same time being sure to re-position it within a historical perspective.
The seven issues published between 2010 and 2013 now constitute a concluded series.
