The Drill Hall Project

In this chapter I read about the works of Graeme Miller written by Andrea Phillips.  I learned about a project he did with Mary Lemley called Listening Ground, Lost Acres. For this

Miller developed a score for a path from Stonehenge north of Salisbury to Clearbury Ring to the south, giving participants individual earphones with which to listen to fragments of memories, sound and music as they walked (Phillips, 1998, 111-112).

We are incorporating headphones into our piece as well. However, it is interesting how Miller and Lemley use sound as something separate from music and memorise and made me think of how we could incorporate this into our own piece. For example adding static or tape winding (to show the time period), the sound of a pen writings (when we are dictating a letter) or even simply choosing a location to record the memories that changes the sound of our voice (like a room that produces echoes). This is appalling because it would help to create a more immersive experience for our audience members.

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First blog post in the series

Link

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Work Cited.

Andrea Phillips. (1998) Borderland Practice. The Work of Graeme Miller. In: Nicky Childs and Jeni Walwin (eds.) A Spilt Second of Paradise: Live Art, Installations and Performances. London: Rivers Oram Press, 102- 116.