Below are noted examples of event scores and notes from the reading.
MY EXAMPLES:
– Polyphonic playground
– invisible art
– ENESS JEM installation
– immersive 3d LED grid
– water and soap walls
NOTES:
– “arts where the elements of time and activity over time (particularly of numbers of people) would have meaning and usefulness.”
– “a vehicle to allow many people to enter into the act of creation together, allowing for participation, feedback, and communications.
– “I hope that scores will lead into new ways of designing and planning large-scale environments of regions and large communities whose essential nature is complexity and whose purpose is diversity. I hope that the idea of scores will make it possible to work in these regional communities as a method for energizing processes and people and the natural environment in a constantly evolving and mutually involving procedure over time. I hope to see scores used as catalytic agents for creativity leading to a constructive use of change.”
– “The only requirement is a willingness to approach a series of nonverbal images with the intent to “read” them with a fluency somewhat akin to our present facility with verbal images.”
– “In its earliest forms, the happening has inevitable connections to abstract expressionist painting, in which the action formed the painting but then went out into the environment to include the outside world and objective (as well as subjective) elements. In the happening, simple directions are given, a place is chosen for the event, and (sometimes) props are used. What transpires, however, is largely the result of the participants’ own input and interaction, since the event is, in most instances, not overly structured. This is not to imply, however, that no structure exists. It does. The organizer of the happening has lined out certain parameters, he has established an environment, he has (by choosing location, time, and very often by establishing attitudes) guided the resultant form into an organized work. The designer of a happening catalyzes actions in certain directions but does not determine what precisely emerges. Happenings are not chaos-they may appear chaotic, but when carefully thought out and programmed they can result in superb works: scored but not completely controlled. The event becomes a kind of instant symbiosis between the participants and their environment.”
