Lucreccia Quintanilla

A stack of speakers was constructed and fashioned in the tradition of the Jamaican Soundsystem. I began informally discussing their progress with friends and acquaintances in late 2013.

In the six months between October 2014 and April 2015, Other Planes of Here as they have come to be known was invited to amplify the sound of five events. Most of those who requested the speakers had been following their progress and had expressed interest in using Other Planes of Here for planned events. These groups had been formed around commonalities i.e. cultural difference, collaboration, feminism, music/sound experimentation, or art. These events were most of all fun and had difference as a common factor. Difference was not a predetermining characteristic for selection, but rather, one of the factors that emerged as a commonality. It was not unwelcome or denied as a result, nor was it surprising. Simply these are the people within my social and professional networks. The question was how sound and amplification could become a heteronomous approach to art making.  The intention behind the cycle of events was to investigate how my understanding of sound as a space of perception could function within different contexts. Furthermore these events tested how the soundsystem could behave as an adaptable object that I imagined it might be within each location.