ABSTRACT
The sound overlay in each work brings attention to the physical and social contours of the natural and built environment even as it challenges participants to unconventional habitations-a kind of reading against the grain of the physical text and context of the environment. This chapter describes the term GÇ£mobile experienceGÇ¥ to refer to the broad domain of everyday experience that is mediated by location-sensing technologies, including commercial and industrial productions. Through elaborating these effects as they generate and complicate meaning in artworks taken from my own practice, present a position from which locative media may be understood as holding the potential for a kind of generative displacement. He argues that the kinesthetic mode of consumption required in experiencing this work from the ground is essential to comprehending, understanding, and appreciating it. Since the beginning used sound as the primary media overlay in my works, eschewing the screen in the interest of drawing the eye to the surrounding environment, as well as allowing the body to freely explore this novel spatiality. The last work will discuss is perhaps the most complex in terms of addressing themes of displacement. Nevertheless, try to evoke something of their significance to my argument. Much more might be said about the various displacements effected by this final work, but in conclusion like to invoke the overarching displacements that have become apparent to me over the past fifteen years of creating works in locative media.
