Abstract

This article follows the installation of a sound art project titled Pleasure Garden in a historic garden in Sydney, Australia. Discussing various activities, from laying cables to mixing the installation, I argue that an ethnographic perspective can deepen our sense of what is meant when sound art is described as a “practice.” The article discusses the distinctive microculture that emerged around the installation process and traces issues of creative agency, epistemology, and ontology at stake as diverse actors—the creative team, the technological infrastructure, the garden, and its inhabitants—were brought into relationship.

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