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Claims for originality in this thesis lie in bringing together many different disciplines in art, music, sound studies and performance. The methodology, contextually indebted to the dialogues of site specific art, performance, and sound improvisation, has emerged as a multi-disciplinary one, informed in part by the study of those artists from the 1960s onwards who actively sought to resist the gallery system. The practice has driven the thesis in developing and continuously testing the requirement to respond uniquely to chosen sites. By using relevant references, instruments, and sonified materials, a compulsion to convey something of the particularity of the site’s associations through sound, is performed on site.