Site-integrity is a proposal for a working methodology - a particular but original mode of site-specific practice that potentiates a dynamic exchange between site, artist, device and audience. Site-integrity performs site through artistic devices operating in temporal relations with space and place. Within this site-specific context the artworks produced cannot be separated from the temporal. Taking a non-representational position (Bolt, 2004, p.12) this research builds upon "place as emergent, relational and beyond representational regimes" (Massey, 2005, p.11). It builds upon Massey’s rejection to collapse space into representation, that is, to a given, pre-existing cognitive structure or conceptual schema by implicitly performing involvements in, as opposed to observations on, site.
Site-integrity situates the viewer in the meaning-making of place – functioning as a place/self-making ‘machine’. By situating the viewer in the centre of a changing live space, there is never a point of fixed representation. In site-integrity place is apparatus – i.e. it depends on which elements are operationalised and should be assessed in terms of affective experience. The artistic device allows for a clear articulation of the material, architectural, social, institutional discourses present in site, since it constitutes an interface between them, a dynamic network or system of exchange. In order to explore the success of this working methodology, this research seeks to answer the following questions: How effective is this methodology? How do relationships to sites affect the making and reception of the work? Did the artworks have a positive effect on the site communities?
This exposition presents three specific projects: Assembly, Screen Space and Moving Site / Sight that explore temporal relations with space and place via motorised recording and display devices. Assembly uses 1:1 scaled moving floor projections, Moving Site / Sight uses 360-degree rigs and Screen space uses motorised iPad tracks. It is important to note that these devices are not solely visual. The role of sound is crucial in the performance of site. Each project uses different methods of sound recording and re-play to construct a ‘soundscape of the space’. In each specific site the device operates in a distinctly different manner (as object, subject, time machine, mediator, investigator, social operator), providing different techniques and outcomes in each site. The differences and relations between each project add up to a body of work that furthers ideas of site-specific practice.
This research could be extended by using different methodologies that could also lead to the same idea of site-integrity, for example, the many possibilities of operating temporal relationships with sound and space. Therefore, it is worth noting that site-integrity is a larger concept that incorporates (but is not limited to) these record/playback devices. These projects are examples of an artistic device that contributes (not exclusively) to a specific practice - site-integrity.