During the last 50 years, a composition and performance practice has developed outside the concert hall, in dialogue with the environment. Although technology is omnipresent in our society and environment, it is only used in a small number of site-specific, in situ performances to explore the concert surroundings. This project aims to extend the artistic potential of contemporary, mobile technology for site-specific performances. It also wants to elaborate on the concept of an ecological sound technology, this is a situated technology that amplifies the liveness of the surroundings and enhances the participation in these surroundings. The project wants to contribute to the debates on liveness in technological arts and on sustainable relations between (wo)man and environment.
The research will happen through systematic reflection on the creative process of site-specific compositions and a series of 'open sketch' experiments, in which feedback is obtained from performers and a select audience. The creative process of two (site-specific) external composers will also be examined. This research project will lead to one article on situated technology, five site-specific compositions with live electronics and three multimedia documentations on creative processes, concepts and performances of site-specific compositions.