Extending the Echoes has been collaboratively shaped through a process of call and response. The articles provide examples of the different ways that artists who research engage with their own collected material; reflect on the processes by which this material is collected; and outline how this material becomes both modes for reflection and means to propel trajectories of making in multiple directions. Part of these different ways of approaching material involves recognising how context and lived experiences bleed into artistic production. The articles can offer insights into our relationships to journals, diaries, logbooks, and other collections that exist alongside and as an intrinsic part of this process. These are an artist's archive.

The term archive is charged: archives are by definition spaces of exclusion and reproduction of specific ideologies. When we talk about archives in the context of this issue of Landing, we’re talking about the recording media, anecdotes and the spaces between them and the perceived now. We’re talking about echoes. The echoes, and the means by which they are extended, oscillate in relation to the spaces of doing, observing, and deciding that frame research and inquiry within the arts.

There isn’t a single way to record or remember. An artist researcher can draw, recall, capture an image or refuse to do anything and thus create an outcome. Such an outcome is not contingent on an encounter, nor is it the byproduct of one. There is a complex interplay at work – a multitude of dynamics all riffing off each other and a hum that reverberates between action and reaction, transforming practice into something that could be defined as research with moments of doing, observing, and deciding. Means of documentation are both outcomes, and driving forces, of creative inquiries, as much as they are sites for doubt, questions and evidencing of that process. This is where this issue of Landing dwells.

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