In Site-Specific Sound Installations in the Urban Environment, something that stood out to me was how the participant (or the “citizen” in the article) forms a personal relationship with the sound installation and how the participant becomes immersed into their own context. Modeling the Shopping Soundscape primarily discusses the technique of background noise (or “metabolic environment”) in a private space affecting visitors, where the inter-subjective perspective is one of comfort and relaxation.
My idea for the site-specific piece is a responsive dance floor on the cut. It will be an imitation of how students play loud dance music on the cut during sunny days, except this piece will synchronize to the footsteps of people walking over the dance floor. Students passing through campus have the expectation that somebody will be playing dance music, whether they like it or not. Some probably won’t like it, but attempting to not synchronize one’s footstep to the music is fairly difficult. Walking across this dancefloor where the music synchronizes to footsteps will make it even more difficult to not move to the music. If passerbyers like the music enough, this may result in a spontaneous dance party. This is in contrast to the Gallerian installation, where, instead of having an acousmatic division in space to separate the shopping zone from sitting zone, this dancefloor will ideally be actively attracting attention and visitors.
My original idea for the site-specific piece involved a soundproof room with artificial room acoustics using arrays of speakers and microphones. However, due to the complexity and difficulty of this project and time constraints, I will not be pursing this.