tracing mobility: cartography and migration in ... - Trampoline
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Navigat<strong>in</strong>g by Circles, 2008<br />
S<strong>in</strong>gle channel video projection loop<br />
with stereo audio<br />
Navigat<strong>in</strong>g by Circles (2008), looks through the<br />
lens of a sextant (an astronomical <strong>in</strong>strument<br />
to determ<strong>in</strong>e latitude <strong>and</strong> longitude typically<br />
while at sea), <strong>in</strong> an attempt to fix the sun on<br />
the horizon from a mov<strong>in</strong>g boat. The sounds<br />
that <strong>in</strong>terplay are the electronic ‘sonifica-<br />
tions’ of the same process done by a .<br />
Such navigation is the resound<strong>in</strong>g<br />
theme <strong>in</strong> Yol<strong>and</strong>e Harris’ work <strong>in</strong> which<br />
she explores navigation <strong>and</strong> orientation <strong>in</strong><br />
physical space as well as its relation to sound<br />
<strong>and</strong> image with<strong>in</strong> performance. Employ<strong>in</strong>g<br />
satellite navigation through systems <strong>and</strong><br />
traditional tools such as celestial naviga-<br />
tion tables <strong>and</strong> sextants, Harris conjo<strong>in</strong>s<br />
historical <strong>and</strong> contemporary technologies<br />
of situat<strong>in</strong>g to explore <strong>in</strong>herent cont<strong>in</strong>uities<br />
among such <strong>in</strong>struments <strong>and</strong> strategies of<br />
observation <strong>and</strong> calculation.<br />
What becomes of underly<strong>in</strong>g <strong>in</strong>terest is<br />
the conceptual impact such technologies <strong>and</strong><br />
methodologies have on our underst<strong>and</strong><strong>in</strong>g of<br />
location, stasis <strong>and</strong> motion. In particular, it<br />
is through sound that the artist seeks to ad-<br />
dress a conceptual physicality <strong>in</strong> terms of our<br />
awareness of location <strong>and</strong> navigation — of<br />
our place <strong>and</strong> our go<strong>in</strong>g to place.<br />
Sun Run Sun: Satellite Sound<strong>in</strong>g, 2008<br />
Stereo sound composition, 7” loop<br />
Sun Run Sun: Satellite Sound<strong>in</strong>g (2008), is a<br />
composition that develops from with<strong>in</strong><br />
Harris’ overall project, Sun Run Sun<br />
(2007–2009). In this work the artist <strong>in</strong>ves-<br />
tigates contemporary, historical <strong>and</strong> animal<br />
techniques of navigation through the use<br />
of sound. Harris situates thus by explor<strong>in</strong>g<br />
the <strong>in</strong>dividual experience of navigation<br />
technologies, through the <strong>in</strong>timate <strong>and</strong> im-<br />
mersive qualities of sound, the work seeks<br />
Yol<strong>and</strong>e Harris<br />
to re-establish <strong>and</strong> renegotiate a sense of<br />
embodied connectedness to one’s environ-<br />
ment. To accommodate, Harris developed<br />
the “Satellite Sounders,” h<strong>and</strong>held custommade<br />
<strong>in</strong>struments that allow one to listen to<br />
chang<strong>in</strong>g satellite data while walk<strong>in</strong>g. Each<br />
device consists of a antenna <strong>and</strong> receiver,<br />
a small computer processor, which converts<br />
the data <strong>in</strong>to sound, a rechargeable battery<br />
<strong>and</strong> stereo headphones. What transpires is a<br />
cont<strong>in</strong>uously chang<strong>in</strong>g musical composition,<br />
generated from signals of navigation satel-<br />
lites <strong>in</strong> orbit together with the participant’s<br />
mov<strong>in</strong>g or static coord<strong>in</strong>ates on the ground.<br />
Chart<strong>in</strong>g a path between environmental<br />
engagement <strong>and</strong> technological development,<br />
Sun Run Sun explores the relationship<br />
between the embodied experience of loca-<br />
tion <strong>and</strong> the calculated data of p<strong>in</strong>po<strong>in</strong>t<br />
position<strong>in</strong>g.<br />
The particular piece, Sun Run Sun:<br />
Satellite Sound<strong>in</strong>g, shown <strong>in</strong> the exhibition,<br />
is comprised of the prior projects. The<br />
seven-m<strong>in</strong>ute sound composition uses as its<br />
musical material, record<strong>in</strong>gs from the public<br />
walks taken with the Satellite Sounders.<br />
Thus <strong>in</strong>corporated <strong>in</strong>to this sound piece are<br />
the reactions of the public, who <strong>in</strong> effect be-<br />
come the performers of the piece, comb<strong>in</strong>ed<br />
with the recorded satellite sounds collected<br />
from four corners of the world. Together, the<br />
cacophony activates an imag<strong>in</strong>ative space<br />
<strong>in</strong> which dreams <strong>and</strong> their concomitant<br />
suspicions are audibly enacted above the<br />
everyday.<br />
34<br />
Yol<strong>and</strong>e Harris, Navigat<strong>in</strong>g by Circles<br />
Photo: Seamus Cater<br />
Navigat<strong>in</strong>g by Circles, 2008