TY - JOUR
T1 - From Site-specific to Site-responsive
T2 - Sound art performances as participatory milieu
AU - Hayes, Lauren
N1 - Publisher Copyright:
© Cambridge University Press 2017.
PY - 2017/4/1
Y1 - 2017/4/1
N2 - This article concerns context-based live electronic music, specifically performances which occur in response to a particular location or space. I outline a set of practices which can be more accurately described as site-responsive, rather than site-specific. I develop a methodological framework for site-responsive live electronic music in three stages. First, I discuss the ambiguity of the term site-specific by drawing on its origins within the visual arts and providing examples of how it has been used within sound art. I then suggest that site-responsive performance might be a more helpful way of describing this type of activity. I argue that it affords an opportunity for music to mediate the social, drawing on Small's idea of music as sets of third-order relationships, and Bourriaud's relational aesthetics. Third, I suggest that with the current renewed trend for performances occurring outside of cultural institutions, it is important to be mindful of the identity of a particular site, and those who have a cultural connection to it. I make reference to a series of works within my own creative practice which have explored these ideas.
AB - This article concerns context-based live electronic music, specifically performances which occur in response to a particular location or space. I outline a set of practices which can be more accurately described as site-responsive, rather than site-specific. I develop a methodological framework for site-responsive live electronic music in three stages. First, I discuss the ambiguity of the term site-specific by drawing on its origins within the visual arts and providing examples of how it has been used within sound art. I then suggest that site-responsive performance might be a more helpful way of describing this type of activity. I argue that it affords an opportunity for music to mediate the social, drawing on Small's idea of music as sets of third-order relationships, and Bourriaud's relational aesthetics. Third, I suggest that with the current renewed trend for performances occurring outside of cultural institutions, it is important to be mindful of the identity of a particular site, and those who have a cultural connection to it. I make reference to a series of works within my own creative practice which have explored these ideas.
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U2 - 10.1017/S1355771816000364
DO - 10.1017/S1355771816000364
M3 - Article
AN - SCOPUS:85014695421
SN - 1355-7718
VL - 22
SP - 83
EP - 92
JO - Organised Sound
JF - Organised Sound
IS - 1
ER -