Site Specific Art

At the hand of three artistic projects —Suzanne Lacy’s Between the Door and the Street (2013) , Lee Mingwei’s The Moving Garden (2009/2015) and Rirkrit Tiravanija’s The Land Foundation — this paper reflects on the methodological precepts underlying theoretical and conceptual foundations of participatory art at the public space.  Taken as case studies about participatory art, each propositions allow to explore relational art / relational aesthetics concepts proposed by the French curator artificer of the Altermodernism, Nicolas Bourriaud, as well as develop and expand this study considering other contemporary debates related to art practice-based research (practice-led research / practice-based research in the arts), widely addressed by Hazel Simth and Roger T. Dean in their book Practice-led Research, Research-led Practice in the Creative Arts (2009).  Collaborative art at the public space proposals implies a dialogue with the audience —relational art before mentioned—, they are bas...

The 5 year process of creation of this project, both academic and performative, was entirely collaborative. While every effort has been made to acknowledge individual ideas and contributions personally, given the fluidity of the collaborative process this is not always possible. Where I have used 'I', it has been done to drive the argument forward for the purpose of this dissertation. In almost every case it can be replaced with 'WE' as the core collaborators on this project were present from its conception to its realisation. Clare Reynolds and Katie-Jean Harding collaborated on the production of 'The Alp' (the performance outcome of my honours research) in 2002 and remained with the project up until the final production of 'Aviary'. Jason Lehane, Kirsten Prins, Tania Smith, Anna Hamilton and Clint Dowdell began work on the project in 2004 and as with the aforementioned, gave tirelessly and generously their passion, ideas, knowledge, skills and time to this project over a 3-5 year period. In March 2006 we joined forces with Anna Voronoff (creator/performer), Evan Granger (set designer), Govin Ruben (lighting designer), Lauren Theos (costume designer) ,Terry Ryan (sound designer), and in Mid 2006 we were joined by, Matty Scott (production manager), Halcyon McLeod (performer/creator), Miranda Borman (performer/creator), Ivan Thorley/Rob McReeche (performer/creator) Zachary Johnston (violinist), Kate McMillian (stage manager) Geordie Barker (lighting operator), Lisa Reynolds (costume assistant) along with the supporting artists, the outdoor ensemble;

This thesis includes a body of paintings, drawings and assembled objects that have been made in response to the Crossing England walks (2014 2018). This body of work is entitled The English Diagrams (2018). The research draws upon the varied perspectives of Fine Art, Performance Studies and Cultural Geographies, to examine the relationship between the activities of walking as art, and making in the studio. Drawing from experiential phenomenology, I set out a model for rigorous, reflexive, creative practice and map the looping affiliations between the embodied world of the walked landscape, the subjective terrain of the practitioner, and the fabrication of paintings, drawings and assemblage within the studio. This interdisciplinary study takes a neo-vitalist approach, tracking a series of walks on a single route across England. Artist and terrain are explored as integrated, the boundaries between them fluid or porous, Autobiographical story, personal mythology, and sediments of colle...

An ontological ground on which to live our life, place both embraces and haunts us, manifesting itself as the source not only of comfort we feel when we are in place, but also of nostalgia, a pain we experience when we are out of place. Understandably, people have long desired to understand the inevitability of our relationship with place by telling stories, singing songs, and drawing maps and paintings. Thanks to developments in modern technology, we can now take pictures and make films of places. But no matter what (old or new) technology we use, it ends up only partially explaining our engagement with place and such a trait of technology is most vividly witnessed in the practice of acousmatic listening and composition where audio technology provides us with new possibilities of understanding our relationship with place. This paper aims to examine our relationship with place through the practice of acousmatic music; specifically, it identifies and describes three different types o...

Abstract: This paper traces the creation, negotiation and installation of a space-specific visual performance, Collapse at the Old Port of Melbourne located within Williamstown’s Maritime precinct in 2008. Conceived and produced by the Red Cabbage Collective- the audience travelled by boat to witness the performance which could be described as a transmogrification of the original site- with the spaces transformed in a magical, unexpected and at times controversial manner. A massive boat shed was transformed into a drive-in cinema at the end of time...Melbourne’s first morgue was lit with lanterns made from clothing of the deceased...revered boats were smashed and destroyed...the audience trapped and bearing witness something at once sublime and horrific. This paper argues that space-specific performance involves a meeting of different cultures as artists trespass into spaces originally inhabited or used for non-artistic purposes (NB: ‘space- specific’ performance is primarily concerned with the aesthetics of the site rather that the meaning of the site as in ‘site-specific’ performance). During lengthy negotiations with the sites stakeholders at the Old Port of Melbourne significant issues were raised regarding ‘creating performance across cultures’. In the case of Collapse, I argue that a predominantly female performance collective invaded the meeting space of a cultural ‘Other’ with the presence of the company on site and the transformative aspects of the resulting performance transgressing upon the norms and values of that culture and vice versa with fascinating outcomes for those involved. This cultural ‘Other’- was a predominantly male maritime association centred around a ‘Pirates Bar’ on site. Drawing upon Jungian analysis and the researchers use of aesthetic conventions of the ‘traumatic sublime’ in the creation of visual space-specific performance, this paper exposes a ‘space between two cultures’ where true transformation and perhaps even transcendence can occur...Throughout the paper I trace the transgressions and glimpses of transcendence where site met space, meaning met aesthetic and most importantly where the owners met the trespassers...in a state of recurring collapse.

The PhD reveals the Australian landscape as inspirited with all that has been, and replete with beings and becomings. The research demonstrates how site-specific creative practice can open our awareness to the materiality of history and in doing so, reawaken the sacred in relation to the deep ecological mesh, the human-non-human community to which we all belong.

An ontological ground on which to live our life, place both embraces and haunts us, manifesting itself as the source not only of comfort we feel when we are in place, but also of nostalgia, a pain we experience when we are out of place. Understandably, people have long desired to understand the inevitability of our relationship with place by telling stories, singing songs, and drawing maps and paintings. Thanks to developments in modern technology, we can now take pictures and make films of places. But no matter what (old or new) technology we use, it ends up only partially explaining our engagement with place and such a trait of technology is most vividly witnessed in the practice of acousmatic listening and composition where audio technology provides us with new possibilities of understanding our relationship with place. This paper aims to examine our relationship with place through the practice of acousmatic music; specifically, it identifies and describes three different types o...

The article is an investigation into theatricality from various standpoints (among others those of Michael Fried, Claire Bishop, Juliane Rebentisch and Samuel Weber) in order to focus on different views on theatricality considered as partially emancipated from theatre and to verify if and to what extent each of them can apply to installation artworks as environments and intermedial devices. Ultimately the article propounds the idea of a paradoxical anti-theatrical theatricality of installation art, grasped in its very connection to site-specificity, critically engaging Martin Heidegger’s insights regarding the «Gestell» and the «work-being» of the work of art, as a general theoretical basis through which a particular focus of ‘specificity’ of installation is endorsed.

to listen to oneself listening... (Dolci 1988:144) Remembering is a realization of belonging, even a social obligation (Assmann, 2008: 114) Can we learn to listen? Or to allow silence to speak to us? Can we visualize the space among us and inhabit it with our memories? These are among the questions raised by, and embedded in, my recent participatory art project 'lo scarto', which evolved through the relational dynamics within the group. It was informed by the Reciprocal Maieutics Approach (RMA Dolci, 1973), a pedagogic process based on collective exploration of individuals’ experience and intuition. This enabled intersubjective exchange, the activation of history and memories, and the construction of a narrative related to the current intercultural process taking place in Italy. My creative process is here discussed as research as art practice, in relation to socially engaged and dialogic art, and communicative memory, to act as an interface in an intercultural society.

The last outlaw of visual disciplines: Graffiti and unsanctioned art--from local origins to global phenomenon In recent years street art has grown bolder, more ornate, more sophisticated and--in many cases--more acceptable. Yet unsanctioned public art remains the problem child of cultural expression, the last outlaw of visual disciplines. It has also become a global phenomenon of the 21st century. Made in collaboration with featured artists, Trespass examines the rise and global reach of graffiti and urban art, tracing key figures, events and movements of self-expression in the city's social space, and the history of urban reclamation, protest, and illicit performance. The first book to present the full historical sweep, global reach and technical developments of the street art movement, Trespass features key works by 150 artists, and connects four generations of visionary outlaws including Jean Tinguely, Spencer Tunick, Keith Haring, Os Gemeos, Jenny Holzer, Barry McGee, Gordon Matta-Clark, Shepard Fairey, Blu, Billboard Liberation Front, Guerrilla Girls and Banksy, among others. It also includes dozens of previously unpublished photographs of long-lost works and legendary, ephemeral urban artworks. Also includes: Unpublished images of street art by Keith Haring and Jean-Michel Basquiat Unpublished photographs by Subway Art luminary Martha Cooper Unpublished photos from the personal archives of selected artists Incisive essays by Anne Pasternak (director of public arts fund Creative Time) and civil rights lawyer Tony Serra Special feature: exclusive preface by Banksy

An ontological ground on which to live our life, place both embraces and haunts us, manifesting itself as the source not only of comfort we feel when we are in place, but also of nostalgia, a pain we experience when we are out of place. Understandably, people have long desired to understand the inevitability of our relationship with place by telling stories, singing songs, and drawing maps and paintings. Thanks to developments in modern technology, we can now take pictures and make films of places. But no matter what (old or new) technology we use, it ends up only partially explaining our engagement with place and such a trait of technology is most vividly witnessed in the practice of acousmatic listening and composition where audio technology provides us with new possibilities of understanding our relationship with place. This paper aims to examine our relationship with place through the practice of acousmatic music; specifically, it identifies and describes three different types o...

If we think of performative research as a specific research paradigm, as Brad Haseman (2006) and Barbara Bolt (2008) have argued, it will have implications for how we look at the impact of such work.1 If we accept that performative research does not describe phenomena but actually creates or shapes them, like a performative utterance, which does not describe phenomena (as constative utterances do) but actually does something in the world, we must commence our analysis by trying to ascertain what a specific research project has accomplished. According to Bolt the effects or consequences of a creative research project can be discursive, material or affective.2 But how we might evaluate “effect” remains open. Bolt suggests that “[t]he problem for the creative arts researcher is recognizing and mapping the transformations that have occurred.”3 From the point of view of the artist and author there are mainly two indicators of transformation or impact: one’s own experience and feedback fr...

tion. Gysin discusses his invention of the Dreamachine and its failed potential as the “drugless turn on” of the 1960s, the “art rag trade” and “deceptual” art (his witty dig at what he perceives to be the empty promise of contemporary art after 1960), the Beat Hotel, the Beats more broadly and Burroughs in particular, the shooting of Joan Vollmer, sex with Moroccan trade and London “dilly boys,” drugs, drinking, censorship, the publishing racket, colonialism and slavery, telephone surveillance, literary disappointment, space travel, pagan princes, magic brain breathing, dream frequencies, and much more. When Savage asks him what his most important field of artistic practice has been, Gysin answers with uncomplicated precision, “Interior vision, really. That’s the ‘field’ I’ve touched.”

The article is an investigation into theatricality from various standpoints (among others those of Michael Fried, Claire Bishop, Juliane Rebentisch and Samuel Weber) in order to focus on different views on theatricality considered as partially emancipated from theatre and to verify if and to what extent each of them can apply to installation artworks as environments and intermedial devices. Ultimately the article propounds the idea of a paradoxical anti-theatrical theatricality of installation art, grasped in its very connection to site-specificity, critically engaging Martin Heidegger’s insights regarding the «Gestell» and the «work-being» of the work of art, as a general theoretical basis through which a particular focus of ‘specificity’ of installation is endorsed.

Tutkielma kuvailee pyöräilyyn liittyviä toiseuden kokemuksia kaupunkitilassa. Toistaiseksi pyöräilyä on Suomessa tutkittu kulkutapaosuuksien ja turvallisuuden näkökulmasta. Kokemuksellista näkökulmaa pyöräilyyn liikkumismuotona urbaanissa ympäristössä kaivataan. Olen kummastellut pyöräillessäni kaupungilla miten itsestään selvänä ympäristö ja oma toimintani siellä minulle näyttäytyvät. Samalla ruumiillinen kokemukseni, joka syntyy liikkuessani, puhuu omaa kieltään. Pyöräilyäni määrittelee jokin konflikti, joka ilmenee toiseuden kokemuksina julkisessa tilassa liikkuessa. Käsittelen kaupungin katutilaa julkisena tilana ja pohdin miten sen olemus vaikuttaa liikkuvaan subjektiin. Millainen on polkupyöräilijän kokemus toiseudesta tietyllä, tässä tutkitulla reitillä? Tutkielman tarkoituksena on osoittaa, että arkisen liikkumisemme käytännöt vaikuttavat siihen miten voimme suuntautua. Suuntautumisen tarkasteleminen yhdessä mediumin kieliopin (kuten pyöräilyn) kanssa avaa mahdollisuuksia ko...

This article discusses a Leverhulme residency undertaken by the author Julie Brixey-Williams in 2003–4 at the Association of Anaesthetists of Great Britain and Ireland. Notions of medical visibility were explored through practice-led investigations under the umbrella title, Traces of the Invisible, that concentrated on making concrete, visible responses to the hidden or intangible elements of the anesthetist’s working life in areas such as sleep, breath, pain and genetic markers. Rosebud is a unique nine-foot concertina bookwork created after reading the entire story of The Sleeping Beauty into an anesthetic machine. This essay expands upon the concepts and material responses that led to the making of the book with particular reference to how the book’s structure forms a relationship to language and the body-as-site, whilst operating as a sculptural object that raises the visibility of the anesthetic profession. Fairy tales and their telling, including stories of enchanted sleep, tr...

9 7 8 1 7 8 3 2 0 9 9 8 9 ISBN 978-1-78320-998-9 intellect | www.intellectbooks.com Site dance practice prioritizes and facilitates exchanges between people and place. While localized experiences remain at the heart of the practice through specific body-site engagements, site dance practice also offers a method for considering how global issues, systems and events intersect with local places and experiences in fundamental ways. This co-authored volume examines local-global interfaces through the lens of site dance practice and draws on perspectives from three practitioner-academics based in three distinct world regions-Europe, North America and Oceania/Pacific-to explore site dance as a form that engages with a range of socio-cultural, political, ecological and economic discourses. Employing an array of methodologies, the authors (re)position site dance as a practical and theoretical vehicle for investigating contemporary concerns in a globalized era.

This article examines the impact of site dance in urban landscapes on discourses that address large-scale geo- and socio-political issues. The article specifically explores how a certain site-adaptive project, Rooms (2015–16), works to further public discourse around such issues through the careful honing of methodological process. To realize the aims of advancing political discourse, the article argues that site dance methodologies must work to: empower participants through constructive mechanisms/processes; foster inclusion of diverse publics in both creation and presentation stages of a work; and locate such projects in accessible public civic spaces historically associated with assembly. By endeavouring to methodologically craft site dance practice for spaces that are intended for public assembly and discourse, we may realize the goal of creating a diverse, empowered and engaged public that will address the critical systemic concerns of our time, including neoliberalism, globalization and climate change.

Este trabalho propoe uma leitura da performance art como forma de reivindicar a condicao do artista como um produtor do espaco , buscando um engajamento mais democratico com estruturas sociais, atraves de poeticas, meios e tecnicas artisticas que dialogam com o contexto do qual emergem e no qual incidem. O texto se estrutura a partir da analise de dois posicionamentos opostos, tomando como referencia os espacos alternativos de Nova York, a partir dos anos 60, e a ideia de superidentificacao. A transformacao dos espacos alternativos e das condicoes economicas e de producao d o s a r t i s t a s e p e s q u i s a d a e m r e l a c a o a o desenvolvimento da cultura digital, e das formas de economia a ela relacionadas, considerando tambem as diferentes formas de cooptacao, controle direto e indireto e a relacao destes projetos com algumas formas de subvencao. Em contraste com o posicionamento alternativo, a nocao de superidentificacao, teorizada por Slavoj i ek e trazida a tona, buscan...

An ontological ground on which to live our life, place both embraces and haunts us, manifesting itself as the source not only of comfort we feel when we are in place, but also of nostalgia, a pain we experience when we are out of place. Understandably, people have long desired to understand the inevitability of our relationship with place by telling stories, singing songs, and drawing maps and paintings. Thanks to developments in modern technology, we can now take pictures and make films of places. But no matter what (old or new) technology we use, it ends up only partially explaining our engagement with place and such a trait of technology is most vividly witnessed in the practice of acousmatic listening and composition where audio technology provides us with new possibilities of understanding our relationship with place. This paper aims to examine our relationship with place through the practice of acousmatic music; specifically, it identifies and describes three different types of engagement with place that each of the three authors employs in his compositions and discusses the workings and the implications of these types: firstly, by observing the phenomena of displaced sound relating to acousmatic attitude while referring to the works of Heidegger and Ihde; secondly, by comparing the three types to Edward Casey’s three senses of re-implacement in art; and finally, by discussing the Three Cities Project, SERG’s current project investigating and exploring a sense of place in relation to the proposed three types of engagement with place.

Resumo: De um simples piscar de olhos a um pulo, a dança traz ao ser humano novos meios de conectar-se consigo e com o espaço a sua volta. Este artigo é um estudo sobre as relações da mediação com dança em comparação aos processos do site specific e performance, como produtos indiretos da experiência mediativa. Recorte da pesquisa de mestrado Proibido tocar, permitido dançar: dança e mediação no museu de arte contemporânea, que submete um grupo heterogêneo de pessoas a vivências de dança e, posteriormente, ao diálogo sobre a obra de arte no Museu de Arte Contemporânea da Universidade de São Paulo.Palavras-chave: Dança. Performance. Site specific. Mediação. MEDIATOR BODY: DANCE AND MEDIATION IN THE MUSEUM: From a simple blink of eyes to an action of jumping, the dance provides to the human being new connections with himself and with the space around him. This article is a study about the relation among the mediation with dance, ‘site specific’ process and performance as indirect prod...

Dereskina. Feeling under the skin The video essay presents a collaboration between a Senegalese dancer and a Swiss dance anthropologist, highlighting the potential of research-creation as ethnographic encounter. The dance production investigated the intimacy generated by movements, the appropriation of traditional gestures and the postcolonial exhibition of dancing bodies beyond blackness/whiteness. It also revealed questions of racial discrimination, pinpointing colonial residues still shaping North-South relationships. The work advocates for choreographic processes as a collaborative ethnography avoiding epistemic violence inherent within ethnographic encounters: in a dance studio, bodies meet on a more egalitarian way, allowing sensitive and political questions to emerge. The traditional hierarchy between researchers and informants is redefined, and fieldworks interlocutors become co-researchers (Lassiter 2005; Leavy 2009). This ethical approach allowed us to raise knowledge abou...

"This thesis evolves perception as a hypothesis to reframe architectural praxis negotiated through agent-situation interaction. The research questions the geometric principles of architectural ordination to originate the ‘felt_space infrastructure’, a relational system of measurement concerned with the role of perception in mediating sensory space and the cognised environment. The methodological model for this research fuses perception and environmental stimuli, into a consistent generative process that penetrates the inner essence of space, to reveal the visceral parameter. These concepts are applied to develop a ‘coefficient of affordance’ typology, ‘hypervigilant’ tool set, and ‘cognitive_tope’ design methodology. Thus, by extending the architectural platform to consider perception as a design parameter, the thesis interprets the ‘inference schema’ as an instructional model to coordinate the acquisition of spatial reality through tensional and counter-tensional feedback dynamics. Three site-responsive case studies are used to advance the thesis. The first case study is descriptive and develops a typology of situated cognition to extend the ‘granularity’ of perceptual sensitisation (i.e. a fine-grained means of perceiving space). The second project is relational and questions how mapping can coordinate perceptual, cognitive and associative attention, as a ‘multi-webbed vector field’ comprised of attractors and deformations within a viewer-centred gravitational space. The third case study is causal, and demonstrates how a transactional-biased schema can generate, amplify and attenuate perceptual misalignment, thus triggering a visceral niche. The significance of the research is that it progresses generative perception as an additional variable for spatial practice, and promotes transactional methodologies to gain enhanced modes of spatial acuity to extend the repertoire of architectural practice."

Testing Waters explores where water ecology, dance performance and the everyday converge. Practice-­‐led interdisciplinary research focused on the connections between identity, place and environment that aimed to explore cultural, social and scientific aspects of the environmental issues of water. I situated this project in the place where art and science meet. Through the lens of ecology I described this project as an ‘ecotone’ (the place where two habitats converge) creating the possibility for new choreographic life-­‐forms. Using the dancing body as site of research, I engaged in ecological place-­‐sensitive performance practice through a kinesthetic sensing of nature that encouraged a slowing down and taking notice of the world around me. Through ongoing and changing relations to urban and natural environments my investigations became the focus for Whau (faux) science, a series of pseudo scientific experiments. This work was critically informed by current research on choreographic empathy (Susan Leigh Foster, 2011); ecological performance (Sandra Reeve, 2011; Nigel, Stewart, 2010 and Baz Kershaw, 2012a, 2012b, 2007); ‘liquid perception’ (Jacquie Clarke, 2010; Gilles Deleuze, 2005); and eco-­‐feminism (Elizabeth Grosz, 2011, 2008; Donna Haraway, 2010a, 2010b, 1991a, 1991b). I developed choreographic actions that evoked transformative perceptions of everyday activities developed through an appropriation of De Certeau’s The Practice of Everyday Life (1984) and artists collective Wrights & Sites. I applied these theories to performative experiments at selected locations in Tāmaki Makaurau (Auckland City). The significance of this research was to be found in its attention to ‘meta-­‐morphorical interruptions’ of daily life that created connections between soma, city, home and urban waterways within the context of impending global ecological catastrophe (Bottoms and Goulish, 2007; Kershaw, 2007). The methodology of Whau science avoided sequential logic through actions aiming instead to evolve prismatic angles of interpretation, lines of flights and rhizomatic proliferation (Carter, 2004; Deleuze and Guattari, 2008; Grosz, 2011, 2008; Kershaw, 2012a). Through testing and disruption these performative actions were aimed at inspiring imaginings towards untold futures. This research was guided by the following research questions: How might a series of choreographic iterations be considered part of an ecological practice? How might solo performance explore ‘liquid perception’ and inspire a collective imagination for sustainable futures? I tested choreographic practices that were deemed ecological and sustainable drawing on the theoretical frameworks of Baz Kershaw’s thought experiments (2012) and Paul Carter’s concept of material thinking (2004). Research was activated through the performance character of Millicent the domestic scientist/mermaid. By focusing on the everyday ‘small’ acts of domestic life through the multiple personae of Millicent, the performance element of this study attempted to evoke for audiences a sense of ‘liquid perception’ and slow choreography highlighting performance in the everyday. I explored ‘ecological becomings’ and modes of ironic self-­‐parody whilst drawing on the work and practices of performance artist Bobby Baker and Wrights & Sites. Millicent existed in the hybrid space between domestic life and water ecology and provided a voice for my personal experience of this research. As a multi-­‐modal research project Testing Waters morphed between various registers of performance and writing in a fluid play between the abstract, the literal, the fictional and the scientific. Testing Waters explored how choreography can actively contribute to developing new varieties of critical thinking in an era when environmental concerns are becoming integral in the daily theatre of our lives.

Light is perhaps the most ubiquitous physical phenomenon and one of the most frequently cited tropes of discovery, artistry, and invention in fields across the arts and humanities. Given this condition, how can we write about light as the subject and medium of performance when we intimately rely on light to understand our worlds, all that occurs within them, and all that is written about them. We ask this question not simply because we aim to topple long-standing binaries that privilege the human over the non- or more-than-human (though this continues to be an important goal for us) but, more urgently, because we want to examine how light as a performing entity has contributed to the production of provocative atmospheres at large-scale public events. Our study draws on recent scholarship on “affective atmospheres,” a concept variously defined by cultural geographers and sociologists as “a quality of environmental immersion that registers in and through sensing bodies while remaining...

An ontological ground on which to live our life, place both embraces and haunts us, manifesting itself as the source not only of comfort we feel when we are in place, but also of nostalgia, a pain we experience when we are out of place. Understandably, people have long desired to understand the inevitability of our relationship with place by telling stories, singing songs, and drawing maps and paintings. Thanks to developments in modern technology, we can now take pictures and make films of places. But no matter what (old or new) technology we use, it ends up only partially explaining our engagement with place and such a trait of technology is most vividly witnessed in the practice of acousmatic listening and composition where audio technology provides us with new possibilities of understanding our relationship with place. This paper aims to examine our relationship with place through the practice of acousmatic music; specifically, it identifies and describes three different types of engagement with place that each of the three authors employs in his compositions and discusses the workings and the implications of these types: firstly, by observing the phenomena of displaced sound relating to acousmatic attitude while referring to the works of Heidegger and Ihde; secondly, by comparing the three types to Edward Casey’s three senses of re-implacement in art; and finally, by discussing the Three Cities Project, SERG’s current project investigating and exploring a sense of place in relation to the proposed three types of engagement with place.