“Listening Plane.” Summer 2019.
“Listening Plane” is a computer game.
Interactees, or players, see through the gaze and hear through the ears of a bodiless avatar.
With arrow keys or a joystick, players move the avatar on a virtual white plane. 100 X 100 meters in dimension, the plane hovers in grey 3D space. On the plane, 76 black cubes mark coordinates of spatialized sound installations.
Sounds are curated from a decade of work processing the tonalities of American power dynamics–a journey that began publicly with “dial H-I-S-T-O-R-Y . . . a gallery . . of four audio collages” of public radio broadcasts “concerning the inmate uprising of August 21, 1971, San Quentin State Prison, California”:
I compose with sounds I need to work through.
“Listening Plane” encapsulates the national soundscape I am a citizen of and my efforts to make sense of it. As a computer game, “Listening Plane” allows interactees to move through this soundscape–sonically, physically and psychically–pausing, dwelling, questioning, fleeing and returning. As they choose a path, interactees simultaneously generate a new mix.
Interactees may wander beyond the edges of the plane and roam through grey silence (a placeholder for an uncharted creative space free of hatred and violence).
“Listening Plane” may be installed in a number of ways, constraints depending. Requirements of installation are: power; television; headphones or speakers; computer or game console; keyboard or joystick.