Here’s the score:
To Start: With all of your sound-making materials on your person, stand in the space with an even distribution between performers. The walls will move into place and start to make sound. Remain still until the lights on the tops of the walls turn on.
Run of Piece: A light on top of the wall means that it is ready to be replaced. A wall with no light on top means that it is not available for use. Choose your wall (a wall with the light on) and stand in front of it, about 7-10 feel away from the sensor (the small black rectangle on the face of the wall). Listen carefully to the sound and quietly start to make the same sound (to the best of your ability) as the wall using whatever means you like. Slowly start to walk towards the sensor while getting louder as the sound from the wall gets softer. By the time you reach the wall, the speaker will be silent and you will be as loud as the wall was originally. Press down on the top of the light to turn it off and continue making your sound for about 10-30 seconds (or as long as feels comfortable/musical).
Walk away from the wall and engage with another wall in the same manner. If there are no walls with their lights on then stand still and wait until one becomes available. Continue in this manner until the walls all begin to emit white noise and all of the lights are off.
End of Piece: At 16 minutes the walls all start to play white noise and the wall movers will start to turn the lights off on all of the walls. This is your cue to stop the run of piece procedure and to listen to the white noise around you. Gently start to recreate a sound that you remember from the piece, it could be the one you just played or a different sound. The white noise will stop and the room will be silent except for the sound you are making. Keep making that sound for 1minute and stop when the lights turn on again.
Composition by Cassia Streb
Performers: Rachel Beetz, John Eagle. Corey Fogel, Liam Mooney and Stephanie Smith
Programmers and Tech: John Eagle and Eric Heep
Video by Ian Beyers.