The workshop led by researcher and curator Lucia Farinati offered participants the opportunity to test different methods for transcribing an audio interview, from strict verbatim to what has been termed ‘embodied’ transcription, and various degrees of edited transcript in-between. What are the advantages and disadvantages of these approaches, and to what use are they best suited?
Lucia Farinati is an independent researcher and a curator who lives in London. She has been awarded a PhD from Kingston University on the subject of Audio Arts magazine in July 2020. Her research focuses on dialogic practices and methodologies investigating the role of listening at the intersection of art and activism, the history of the artist interview, and performativity in the context of sound and feminist archives. Since 2010 she has been working with the Precarious Workers Brigade collective, shifting from a production oriented practice into participatory action research, and expanding her interest in sound from the curation of site-specific projects into the analysis of voice and listening as a political practice. She has curated several sonic art projects under the collective name Sound Threshold.