Some time ago now (just before the pandemic in fact) I was interviewed by Nicole Robson, a PhD candidate in Media & Arts Technology at QMUL and a composer, musician and researcher exploring site-specific artworks.
It was a nice afternoon talking about the process of making site-specific sound works along with the terms for those involved - us as the makers of this work (my answer was 'an assembler, an aligner of things') and the name for the 'audience' ('participants' for me mainly).
I was one of nine interviews alongside other site-specific / responsive artists working with sound: James Bulley, Alex De Little, Roswitha von den Driesch & Jens-Uwe Dyffort, Sebastian Kite, Emma-Kate Matthews, Gerriet K. Sharma, Jeroen Vandesande and John Wynne. Nicole together with co-authors Nick Bryan-Kinns and Andrew McPherson have brought this together in the journal article 'On Mediating Space, Sound and Experience: Interviews with situated sound art practitioners' in Organized Sound journal.
Their study has identified artists as mediators, 'transfer[ing] their own situated and embodied listening to that of the audience and develop[ing] sonic and staging devices to direct perceptual activity and listening attention' (p1). Plus findings that '(2) the audience has an active relationship to the work; (3) the artwork shapes behaviour and perceptual experience; and (4) [the] engagement challenges.' (p3).
This is a really nice study of the formation of situated / site-specific sound artworks. It has also been a nice opportunity to reflect on my own practice and research since Feb 2020, of how my 'site' of the body has expanded to include other people's bodies, interweaving an 'audience' as participant even more so.
Have a read of the paper online here, or email me for a copy:
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