CISA–Site-Situated Practices

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1)    Reflect critically on your experience of putting sounds in a particular context. What was the effect of placing sounds within a particular site or place? What worked as expected and what surprised you? Why? Post your thoughts on your blog.

I think different site has their own different meanings. As a site-specific work of art is designed for a specific location, if removed from that location it loses all or a substantial part of its meaning. The term site-specific is often used in relation to installation art, as in site-specific installation; and land art is site-specific almost by definition. With sound, it has its own natural ambience in the space compared to sounds on the computers.

In my group with Dec Teeze and Zharu, I really enjoyed the synth Dec made combining with the speaker sounds in the dark room. Its like a layer of background music for the interview which was displaying.

I really enjoyed this work: Maryanne Amacher – City Links (1967)

Maryanne Amacher wrote about her City-Links series: In my first sound works I developed the idea of sonic telepresence, introducing the use of telecommunication in sound installations. In the telelink installations « CITY-LINKS » #1-22 (1967- ) the sounds from one or more remote environment (in a city, or in several cities) are transmitted “live” to the exhibition space, as an ongoing sonic environment. I produce the « CITY-LINKS » installations using real-time telelinks to transmit the sound from microphones I place in the selected environments, spatializing these works with many different sonic environments: harbors, steel mills, stone towers, flour mills, factories, silos, airports, rivers, open fields, utility companies, and with musicians « on location. » The adventure is in receiving live sonic spaces from more than one location at the same time – the tower, the ocean, the abandoned mill. Remote sound environments enter our local spaces and become part of our rooms. Installations of « CITY-LINKS » include works created for solo and group shows at the Museum of Contemporary Art, Chicago (1974); Walker Arts Center « Projected Images, » Minneapolis (1974); Hayden Gallery MIT, « Interventions In Landscape, » Cambridge, Mass (1975); Institute of Contemporary Art, Boston, Mass. (1975); Corps de Garde, Groningen, Holland (1978); the Kitchen Center, NYC (1979); Radio France Musique (1976); Mills College (1980 & 1994).

I could feel the textures are very like human-being. I can feel the world resonance.

2)    Draw a mind-map based on sounds that are important to you for your project. What places, spaces or sites do they concern? What meanings do these each have? How do they connect or inter-relate? Post this mind-map on your blog.

I think the sounds are only important to me are voices. Various layers of voices, from high frequency to low frequency. We are concerning to make the performance in lucky pot first, it is a small art venue in euston. They have a cozy garden which would be a good space to make the monologue happen. The space has its own natural ambience like wind, leaves and birds. It could make the whole thing much more lively. We are also doing the performance at lucky pot because the curator would like to make a poetry exhibition. So it is a lucky coincidence that we are making a collaboration.