The next morning I went downriver to Mud Ho, the Nanning Map Tourist Attractions delightfully named village where I had been told they used inflated skin rafts. Sure enough there Nanning Map Tourist Attractions were several rafts propped up in the shade on the riverbank. An old Han called Lee took me for a ride downriver. His raft was made of inflated sheepskins in four rows by four long, all tied underneath a flimsy wooden frame of crosspoles. It was surprisingly stable and comfortable. The skins were pudgy rather than hard-inflated, smooth leather.
Nanning Map Tourist Attractions Photo Gallery
This effect of loss of control for the passenger is pronounced in Gasoline Music. Unlike conventional driving or passenger experiences, where control over the car’s sonic climate can be a site of active debate, in Gasoline Music there is no agency given to the passengers. The route is pre-determined by the artists and the amplification of the sound is composed.
However, the body of the passenger is not just a passive recipient, it actively engages in a kinaesthetic relationship with the car, by continual adjusts of gravitational weight, form and sensory inputs/outputs (ears, eyes and mouth) to the speed and movement of the car. In Gasoline Music what becomes quickly apparent is the way that as a passenger there is a distinct role occupied as both participant and audience. There is no control over the driving and sonic experience, and no encouragement to interact with the artists in the front seats or with other passengers. This follows conventions of performance/audience tradition, but it is determined also by the density and volume of noise, which makes talking/listening difficult. Consequently, in the passenger role the focus shifts to subjective bodily reactions to sound, vibration and motion, which draw further attention to the act of participation in the sonic/ mobile experience.
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