Tracie Morris was not present when audiences heard the sound poems she contributed to the Whitney Biennial, but she wanted them to be able to experience the “intimacy of a live event” anyway. Informed by her improvisational background, Morris used a variety of techniques to ensure the recorded work did not feel stiff, in both presentation and production. “If I felt that it didn’t work exactly right, I would do another take, so it could have that feeling of liveness even though it was contained in this digital format,” she says. “What I’m trying to figure out is how to make it a living experience, because that informs my improvisational work.”
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