“I think these are the reasons this form of making is so interesting to me. It’s a connection to a rich canon of cultural production and a conversation with history. […] I’m never exactly sure where the work will take me, at least conceptually. I am more concerned with the process(es) and ultimately the rhythm of the work.”
Sound art
“The Archive on Ice is a solar-powered digital micro-archive. A miniature database of Ice Follies’ history. The website archiveonice.ca was coded on a Raspberry Pi microcomputer, which is then hosted by a remote server, and powered by PV solar panels. Our digital networks, data centres and technological devices contribute a massive 4% of greenhouse gas emissions. Using solar-power to build a digital archive celebrates a reciprocal relationship with the land, the sun, the lake, and the digital technology. The Archive on Ice is only available to the user as long as the sun shines.” -Imogen Clendinning and Ice Follies
An extended sound work: contact microphones, tactile transducer, stereo receiver, guitar strings, plate metal, pot lid, bar clamps, spring clamps, fm/am 2-band receivers, analog delay, ‘big muff’ fuzz/distortion, max/msp, hairbrush.
An experimental response to the Sounds Like audio art and experimental music festival, based in Saskatoon, Saskatchewan.
Suzanne Kite responds to questions posed through the Working Title Digital Art Curriculum.
A response to the ongoing “freedom protests” in Mohkínstsis (Calgary)
In the more than forty years since the artist and theorist Lucy Lippard announced the dematerialization of the art, it has become apparent, particularly to Lippard herself, that this proclamation may have been premature.
Writing about send + receive, and sound art in general, creates a paradox, as one has to rely heavily on the left, quantitative, hemisphere of the brain, the one responsible for “visual space,” as it is the mind-space of civilization proceeding for the last four millennia of linearity, according to the Winnipeg-raised media prophet Marshall McLuhan.
