Though a range of professional recording devices exist, it is important that the artistic devices are made by hand, on site. The custom-made machines enhance the creativity and specificity of the process and offer the potential to spontaneously adapt to the needs of the site. The devices are used as both a creature of autonomy and a source of possibility through which site might be found and shared, a technological ability to go inside somewhere physically restricted, forbidden or generally unreachable. Unlike many practices where the mechanics are hidden from sight, site-integrity is reflexive in nature, giving the device a presence within the artwork itself.
All artworks evolve through continuous reflection, testing and re-making. The experiential nature of this practice encourages feedback from the site community during the creative act, of equal weighting to the artist. Qualitative research is the most suitable method of data collection precisely because it offers an insight into subjective interpretations, human feelings and emotions, appropriate for this phenomenological study. The site community continuously informs the making of the work throughout production. However, more specific feedback is sought via ‘open sites’, a site-specific version of an open studio. Rather than making artworks for an art audience, site-integrity makes artworks with a site-specific audience. It is important to note that all experiments, even those that do not work, help in an understanding of what site-integrity is and is not.