SEAcompression, Acoustics 101 and “Totally Closed for the Night”

SEAcomp, as a whole was pretty neat – a serious turnout of flair and burner spirit, for sure: plenty of busses, camps, food gifters, artwork, music, etc., and of course a phalanx of lovely freaks to feast your eyes on.  So on the whole, the event was well intended and enjoyed by many.  However…
[sound snob rant mode: ON]
For some reason, Seattle cannot seem to learn the very obvious and easy lesson of acoustics 101: dance music, or anything with loud volume, put in a large concrete hangar, SOUNDS LIKE ASS!!  Yes, once again it was at Magnuson Park, which used to be a military base, and they rent the hangars out to willing people like burners.  I mean, the rooms have up to a seven second reverb tail!  Clap your hands in the hangar, and you are still hearing it seven seconds later!  Now imagine 120 dB SPL dance music in there…. sounds like slush, unless you are prepared to do some very elaborate (and expensive) sound dampening. 
And this year, due to some unforeseen circumstances that I could discern from any of the throwers I talked to, the “main stage got canceled” a few days before the event, which probably means they lost one of the rooms space due to (lack of money / canceled acts / someone screwed up / poor communication / fill in the blank).  And so, as a result, someone thought it would be a good idea to just put TWO SOUND SYSTEMS in ONE HANGAR, back to back, with a CURTAIN between them, as if the curtain would somehow magically “keep the trance in here, and the drum and bass in there”!  Ugh.  You’ve just compounded the problem by a factor of five.  Trying to dance to two sound systems at once is like patting your head and rubbing your tummy.
So in short, both the DJ rooms sounded horrible.  When I went down to soundcheck before my DJ set, it sounded so bad that I gave my early set time up to someone who didn’t seem to care what it sounded like, and went back home to pre-funk with our peeps instead.  Best choice of the evening.
And then, we were supposed to do our “Totally Closed for the Night” karaoke bit on the “Fire Stage” at midnight, which was in an even BIGGER room with multiple smaller sound systems… so it was clearly a non-starter.  I made the decision to scrap it.  The mics would have been feeding back all over the place, and it’s kind of a quiet song to be performing in a cacophony of that magnitude…. wouldn’t have worked.  
Maybe it is the only space they could get again – I accept that.  Having thrown some large events in Seattle, I know the serious lack of spaces willing to host something of this magnitude.  But c’mon: this is Decompression!  Is there no one in our community who could find / borrow / lend / create a space for this to happen where it would live / sound better?  We’re supposed to be the best of the best at this, Burningman!!  Anyway, that will be my last music event at Magnuson hangars, it’s just not worth it… unless it is an ambient music festival, which would sound lovely in there!
[sound snob rant mode: OFF]
So instead, we decided to give TCFTN a go for our own Ice Peeps at Buttercup’s prefunk extravaganza in her apartment!  Just dropped the cd in the boom box and rocked out acoustic style!  About half the party performing for the other half!  Awesome.  Totally fun.  The neighbors must think we’re nuts.  I’ll have to make a recording and put it up for y’all.  And even better, there was talk of us bringing the backing track to Burningman next year and performing it every day at 6pm at Ice Cubed for the burners who forgot to check the clock and will have to drink warm margaritas all night!  A daily closing floor show!  Hell Yeah!
How’s that for making lemonade?

Artist Statement V0.1

(The following is my current thinking about the intersection of theatre, performance and technology.  It is the beginning of a grad school application.)

Throughout history, live performance has been a means for communal sharing and challenging of cultural memes.  In it’s earliest incarnations, the telling of stories was a means for recording and recounting that culture’s events.  As society has evolved, so did the role of the performing arts into entertainment, political commentary, lessons in morality, challenging the status quo, etc.  At the same time, the evolution of technology has fundamentally changed the way in which we disseminate and receive these memes: film and video have become the popular accessible standard for the conveyance of linear narratives, and dwindling modern theatre-going audiences seem to have become disenchanted with theatre’s basic underlying simplicity.  Perhaps this disillusionment is because so many theatrical narratives attempt to behave like a popular cinematic experience – in the script, in the stage action, even in the aesthetic design – which is a hopeless endeavor that will, by definition, fail.  The theatre has historically reigned supreme – uncontested, even – in the linear narrative space, but for more than half a century now it has been unable to compete with the immersive glitz, polish and epic, non-linear possibilities of cinema.  As a result, theatre’s objectives must evolve with the times and thereby re-establish it’s own unique raison d’etre.

At the same time, in a vast global culture made smaller and more accessible by the internet, we are simultaneously closer to the farthest reaches of the world and more physically isolated than ever before.  While we expand our definition of self with co-location and tele-presence, our physical bodies and social skills atrophy and yearn for stimulation.  The same technology that allows us to interact in unprecedented ways with the world at large also hampers our understanding of the world right at the ends of our fingertips.   

Re-enter the theatre: The one attribute that theatre can not be bested at is the undeniable immediacy of a shared communal experience.  What theatre alone can excel at is not the traditional passive, linear experience, but rather one that involves everyone present, making the spectator a participant, dissolving the audience / performer boundaries.  People today yearn for more than an immersive experience: they want to be the experience.  They expect multi-disciplinary interactivity, multi-threading and multi-tasking.  It has to be a chat room, a video game, and a spiritual experience rolled into one.  Reality television, American Idol, MySpace and Guitar Hero have “pulled back the curtain” and made everyone a star in their own sitcom.  The underground dance culture is now mainstream.  But still most of these mediums still lack visceral spontaneous interaction, improvisation and communal creativity.  Interactive theatrical spectacles are the next logical step.

Although many of the interceding boundaries are social in nature, some are technological as well.  So much “high technology” has become ubiquitous in our daily lives: people edit movies on the bus to work; the notion of making music on a laptop is nearly as commonplace as typing up a proposal or spreadsheet; and interacting in real time with a group of people spread across the globe is business as usual.  So creating interactive technological tools that are appealing, inviting, that anyone can use and many will use well is a baseline objective.  Then, it is up to the participants to make it transcendent.

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