Hayes, Lauren Sarah, author.

Lucky Dip.

[Place of publication not identified] : Lateral Addition, 2021.

1 online resource.

Lateral Addition ; 65

"Answer now, the shipping forecast is you, by the Met Office, on behalf of the Maritime and Coastguard Agency and WA15, on Thursday the 14th of May. Good morning for girls in Viking. Since 2014, I have been engaging in a new set of practices that I describe as site-responsive sonic art. This involves developing technologically-mediated sonic responses to site through human, material, and environmental considerations.* Forth Fisher to foggie Fitzroy. 'Sounding Out Spaces' looks to theoretical movements within the arts to disrupt the notion of audience-as-passive-observer or consumer.* Soul Shannon, Farrell, and fairies turn off the upstairs; 1800 play bingo, just west of Fitzroy. 1010. Common to the collection of practices that has been developed is the theme that sound is produced in response to certain perceived or measured attributes of a particular site. These features may be acoustic, environmental, historic, and, perhaps, even imagined.† 997 by 1800, Wednesday. Pharaohs. 1022 by same time, Ferro 994, moving steadily. Stand dissipating, Fastnet. 'Sounding Out Spaces' explores how we can use digital means to participate directly in our environment, leading to novel and inclusive experiences. These ideas are developed through iterative practice. The series began in 2014 with a focus on guerrilla performance using portable analogue technologies, and has evolved to involve, most recently, large-scale public installations.† 6 showers at fast, good dogger. The temporal and ephemeral nature of such works, formed out of interactions between participants in a particular scenario, resonates with Small's idea of music as something that happens through the negotiations of people with and within a space. A site-responsive sound art practice both acknowledges and allows for investigation of these dynamic relationships.‡ Steering southwesterly, 5 Morris Autos; 5 mainly fair, moderate, or good. In 'Lucky Dip' (2015), audience members were offered multiple modes of participation within the sound-environment field. Taking place during a busy arts festival that was hosting several site-specific multimedia works, the piece consisted of live electronic music that could be experienced both underwater in a large swimming pool, and above the water through loudspeakers. A total of nine performances took place over the course of the three-day festival in Phoenix, Arizona.‡ Fitzroy's 56 North-rain in northwest-moderate, or good; Fitzroy soul 620, perhaps to be a girl. Sound is always situated socially, culturally, and perceived within a particular space.† Occasional rain: good, becoming moderate, or poor: cheap bastard Irish Sea. Self-built hydrophones were positioned in the pool so that the movement of participants could be made audible and be further transformed using digital signal processing. This layering of possible experiences set up various mutually affecting relationships within the environment and provided different points of access to the piece.‡ Occasionally Gail-a tin salmon-good, occasionally poor. A live electronic performance practice demands that the performer be able to respond to the specificities of a given situation. But rather than attempt to control the particulars of a performance environment, I suggest that it is fruitful to embrace the improvisational nature of such work.‡ Gail 80: northeasterly 5; showers-at first good-is pharaoh's. 'Sounding Out Spaces' contributes to cybernetics-driven arts practice through its modular and portable approach to the development and organisation of hardware and software components within a network.* Rising quickly, wake! Northwest 5: intermittent fly drain. In closed-loop homeostatic systems, changes in state are determined by variances in the environment. Autopoietic systems, being initially concerned with the cellular level, but later expanded to deal with the entire nervous system, determine their activity on internal, rather than external (environmental) factors. Changes in the external world cause perturbations, yet the organism always acts upon its own internally-determined rules.* Situation low-pressure-scented close to Shetland- will drift East towards Norway, slowly losing its identity. Working with autopoietic systems makes explicit the role of environment-or medium-in which the work is undertaken.* Occasionally gay, late at first, northeast 45th: Berwick-upon-Tweed to Whitby. These musical systems are necessarily constructed by means of culturally informed choices of materials, hardware, and importantly the embodied actions of the artists and other participants involved.* Good find: Regis to Lands End, including the Isles of Scilly. Working with adaptive dynamical systems, the goal is to create audible ecosystems that unfold over time with coherent characteristics which are determined by their internal structures.† Terrible three becoming Easterly, then South Easterly later. As autopoietic systems themselves, humans may be present in the specific environment, but are not the prime cause of musical activity.* 45-occasionally six later-in far west. In such cases, the audience is not directed to experience the work in a particular way, but is invited to explore their own trajectory through a variety of access points.† Fur: good. Some participants chose to lie in the pool and let their ears move in and out of the water; others preferred to listen purely through air, but were able to hear the movement of those in the water.‡ Easterly 3 or 4. Southeastern E45, occasionally six-letter in West. The various implementations of second-order cybernetic ideas lead to new musical aesthetic experiences, while simultaneously offering alternative modes of understanding musical activity-as embodied rather than necessarily formalistic.* St David's Head-including the Bristol Channel-won't be coming. The project generates responsive sonic environments that have the potential to unfold over time in non-random, yet unpredictable and compelling ways.* 1023 Cineworld. Here, the multisensory experiential modes are not enforced, but are optional, subtle and dynamic. This exemplifies the link between audience participation and site-responsiveness: the piece could be performed in other similar sites, but this type of performance ecosystem affords participation that gives agency to the listener (through multiple modes of listening chosen by participants, ability to affect the sound and so on).‡ Rising is the weather forecast for the inshore waters of Great Britain and Northern Ireland, valid for the following 24-hours. - LSH * Hayes, L. 2019. Investigating Autopoiesis in Site-Responsive Sonic Art. Interference Journal, 7. † Hayes, L. and Stein, J. 2018. Desert and Sonic Ecosystems: Incorporating Environmental Factors within Site-Responsive Sonic Art. Applied Sciences, 8(1), 111. ‡ Hayes, L. 2017. From Site-Specific to Site-Responsive: Sound Art Performances as Participatory Milieux. Organised Sound, 22(1). 82-92. Cambridge University Press. The Shipping Forecast was originally broadcast on BBC Radio 4, produced by the Met Office on behalf of the Maritime and Coastguard Agency, Tuesday the 12th of May, Wednesday the 13th of May, and Thursday the 14th of May, 2015. Transcribed by dictation.io."-- provided by distributor.

Computer networks.
Cybernetics.
Electronic music.
Sound art.
Sound installations (Art)
Cybernétique.
Art sonore.
Installations sonores (Art)
cybernetics.
sound art.
sound installations.
Sound in art

Music.

Laska, Eric, editor.
Library Stack, distributor.
Library Stack.