PLACE:

A Performance in Ten Parts

 

David Dunn

1975

PLACE consists of ten sections to be performed in sequence at the same outdoor location of low amplitude ambient sound. Each section either specifies the number of performers to participate or allows for an indeterminate number of performers appropriate for a particular circumstance. All performers are to utilize each section as an outline for exploration of a certain aspect of the environmental space. Each such aspect derives from a structural transition from environmental information to synthetic information.

 

PART 1: Utilize a single microphone to record the ambient sounds of the environment. Walk slowly from a central point in space, while holding the microphone, moving outward in enlarging circle motions away from the central point so as to be moving in a spiral configuration. Continue moving until a maximum distance is obtained from the central point. Playback the recorded sounds into the environment.

 

PART 2: Any number of performers are to move about within a determined space. Maintain the maximum possible distance from all other performers while attempting to continually move toward the loudest sound in your vicinity. Continue to seek out new sounds. Produce sounds through use of voice and body movement which are indistinguishable from the sounds you are listening to.

 

PART 3: Record the environment for an extended period of time. Playback this recording through a single loudspeaker. Walk slowly while carrying the loudspeaker around a single omni- directional microphone recording the playback sounding in the environment. Maintain a perimeter from the microphone which allows the recorded amplitude of the playback to match the recorded amplitude of the realtime ambience.

 

PART 4: Three or more performers are to utilize portable cassette recorders capable of playing back recorded sounds through an internal loudspeaker. Each performer is to record ambient sounds anywhere within the environmental space for any duration of time. Upon completion of recording, all performers are to move to an agreed upon central location where playback is to occur. No intentional coordination between performers should be made. After playback each performer is to move to another location to record and repeat the process, always returning to the same location for playback.

 

PART 5: Place two microphones separated as far as possible within visual range of each other in an open space. Utilize the signal from microphone one as the carrier input to a ring modulator and the signal from microphone two as the program input. The output signal from the ring modulator should be amplified and heard through a single loudspeaker placed centrally at an amplitude which matches the general ambience of the environment.

 

PART 6: A 10K Hz squarewave and amplified white noise are to be played separately through two loudspeakers. Two performers are to each hold one of the loudspeakers while slowly walking through the environment.

 

PART 7: A solo vocalist is to sustain pitches in response to pitches heard in the environment. An attempt should be made to trigger resonances in the environment and reinforce these through the selection of pitches. Each sound should be sustained for a maximum duration determined by length of breath. The duration between vocalized sounds should be determined by the length of resonance heard after each sound produced.

 

PART 8: A group of vocalists are to produce loud non-verbal vocal sounds attempting to trigger resonances in the environment. All vocalists are to be spatially separated over a large distance within audible range of each other. Each performer may initiate a sound of their own at any time with the other vocalists responding immediately with a similar sound or responding to the resonance which the sound may create. All vocalists must decide throughout the event which action they will perform at any moment. Attention should be paid to allowing periods of silence such that resonances can be heard.

 

PART 9: Any combination of instrumentalists are to produce sustained sounds in imitation of realtime events. Each player is to concentrate on one or more continuous sounds or complexes of independent sounds in the environment whose spatial and temporal characteristics are to be duplicated as closely as possible through manipulation of the instrumental sound.

 

PART 10: Any combination of instrumentalists are to perform a variety of physical actions in reference to the environment which result in modification of their instrumental sound. All players are to perform sounds which may be thought to alter the characteristics of the environment while taking advantage of any physical materials or properties to modify the sounds produced.

 

 

Copyright © 1975 by David Dunn