Bibliography

Dixon, S. (2007) ‘Memory’ in Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation. London: Routledge.

Ford, S. (2005) ‘Potlatch, Psychogeography, Dérive, and Détourement’, in The Situationist International: A User’s Guide. London: Black Dog Publishing, pp. 33-37

Gob Squad (2014) Revolution Now! Available at: http://www.gobsquad.com/projects/revolution-now (Accessed: 4th May 2014)

Govan, E., Nicholson, H. and Normington, K. ‘Narratives of Community’ in Making a Performance: Devising Histories and Contemporary Practices. London: Routledge

Westerkamp, H. (1974). Soundwalking. Sound Heritage. 3(4),  pp. 1.

O’Donnell, D. (2006) ‘An Aesthetic of Civic Engagement’ in Social Acupuncture – A guide to Suicide, Performance and Utopia’ Toronto: Coach House Books.

Pearson, M. (2006) ‘Bubbling Tom’, in In Comes I. Exeter: University of Exeter Press, pp. 21-29.

Pearson, M. (2006) In comes I. Performance, Memory and Landscape. Exeter: University of Exeter Press.

Pearson, M. (2010) Site-Specific Performance. Basingstoke:Palgrave Macmillian

Pinder, D. (2005) ‘Arts of Urban Exploration’, Cultural Geographies, 12(4), pp. 383-411

Rendell, J. (2006) ‘Site, Non-Site, Off-Site’ in Rendell, J. Art and Architecture: A Place Between

Tompkins, J. (ed.) (2012) ‘The ‘Place’ and Practice of site-Specific Theatre and Performance’, in Birch, A. (ed.) Performance Site-Specific Theatre: Politics, Place, Practice. Basingstoke: Palgrave Macmillan.

Critical Reflection

In order to critically reflect on my blog I decided to create a short essay about its relationship to the site specific, this is attached to this post.

In terms of other reflections there are significant pitfalls on our behalf. We did not get feedback from any participants, this is something that if I was to repeat the process I would find a way of incorporating into our project.

Noisy Maps essay

Walking Artists

Because of the nature of this project it is important to acknowledge the world of walking artists.

A lot of our inspiration for this final year piece came from previous work that we have done and artists that we have explored such as audio artists and sound walkers. Even though our focus is silent walks I examined some practitioners who focus on using audio to lead their participants around a walk.

Below is a document I found about a culmination of sound walk artists

http://www.andrasound.org/archive/soundwalks_andrasound.pdf

The definition of Sound Walking was the most important to me. Before looking at this document I had an incorrect vision of what a sound walk was. I thought it only involved artificial sound and a guide. However i have since discovered it can also be to do with environmental sound;

This link to our project was incredibly prevalent to our aims and an inspiration for our project;

‘A soundwalk is any excursion whose main purpose is listening to the environment. It is exposing our ears to every sound around us no matter where we are. We may be at home, we may be walking across a downtown street, through a park, along the beach; we may be sitting in a doctor’s office’

Westerkamp, H. (1974). Soundwalking. Sound Heritage. 3(4),  pp. 1.

Live Feed

We had planned to have a live feed of our performance projected on to a screen. This would be so those involved could witness the map being built. We then intended to broadcast and upload the film to spaces such as YouTube. This would ensure a lasting record of the process the participants undertook in making their own maps and adding them to the pre-existing map.

However due to various technical difficulties and the original space being double booked, we were no longer able to make the live feed as planned. However we were able to overcome these obstacles and managed to film the building of the larger map and broadcast it to YouTube. This documentation of performance is inspired by the work of Sophie Calle who creates pieces that are based around documentation of performance; the idea that through documentation, one can leave a legacy ready for interpretation. We also took inspiration from a performance called Gob Squad that utilised Live feed of a TV presenter inviting individuals in and join the revolution. This was a public intervention that focused on inviting people into the space.

Below is the video that we did manage to create.

Project Presentation

Today is the day. We battled our way through the busy underground network with our bulky map and sheltered it from the rain on our way. As we wandered through the streets of Haggerston with our unusual objects, I considered how we were already performing and altering the environment and the space by simply being present. Without even setting up our installation, we were already performing a piece of theatre to the local people going about their everyday business. This is supported by Tompkins who states an intervention is anything that departs from the ordinary and everyday; where individuals who perform ordinary tasks can inadvertently become actors just by observing.

Once we made it to the venue we started putting together our map. This was a slightly stressful process as we felt we were limited by the time we had available. Furthermore, as a result of the nature of the project, we had not had a trial run and none of us had suspended items from the celling before. Despite this we worked well together and completed the task without too much difficulty.

Although we had to move from the centre of the room due to a double booking on the venues behalf, we realised that in the new performance space there was a perfect view of the waterways and the very area that our map represents.

Below are images from the day, with thanks to Loren Wright;

 

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The Night Before

This evening the group met to make the final touches to our map and discuss the different practitioners that influenced our work. We made a list of things that needed doing:

  • 3D train station and bridges had to be built.
  • 3D Independent Gas Works needed to be completed.
  • The distillery, the park and India Rubber Work had to be collaged.
  • The information pack needed to be printed.
  • The maps with today’s photos of the landmarks needed to be created.
  • Complete Sound Map.

These tasks did not take very long and we were able to carry out these tasks quickly and efficiently. I then set about making T-Shirts, once again from the colours most prevalent within our map. The T-Shirts read Noisy Maps, Silent Walks. They are designed to differentiate our group from the others within the gallery and create a sense of continuity between ourselves and the physical project. In retrospect this unity could also be read as exclusion by our participants and give them a sense that we are higher than them, taking a superior role. This was not our intention however, and if we were to develop the project further I would suggest that the participants could transfer their personal maps onto a T-shirt. It could then be worn to create a visual unity within the group. During this session we also created our handouts for participants with images of what our landmarks look like today taken on our walk.

Bellow are the final copies of our paper work;

SS Independent Gas Works Information Pack

SS St. Mary’s Church Information Pack

SS Haggerston Station Information Pack

SS Bridge Information Pack

 

The Noisy Bit

Below are the sound recordings from our walk between each of the Landmarks on our larger map.These will be displayed as part of our project on a laptop, participants will then be encouraged to listen to the sound recordings and make their own sound maps. These are also the recordings that we used to create the second layer of our map, the sound map.

We also took pictures of how the landmark looks today these will be handed out so participants can fins each of the areas.

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IMG_0660This is the independent Gas works from the canal side. We decided this view was clearer so we would use it as the side that our participants should attempt to locate.

 

 

 

Once we completed the walk we spent some time talking to our tutor about our process at ‘The Proud Archivist’. This was incredibly useful and allowed us to clarify our intentions as well as update her on the progress of our map.

We then moved onto a hardware store in the local area in order to find some materials to create a frame for our sound map. We did this because we were concerned about it drooping in the middle when suspended from the celling. After much discussion the group decided on a metal as our material of choice, as it was the most suited to the aesthetics of our map.

It was also interesting to be sourcing our material from a local independent store and, by doing so, contributing directly to the local economy . The idea of using materials from the area is fantastic and is a brilliant integration of the object into the space. It would have been nice to be able to use local materials more readily and perhaps more from the landscape itself, such as leaves from along our walk.