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10 min |
A scenario that directs thoughts and sounds of performers.
Preparation
Apart from sound sources, which may be anything, and physical placement unspecified, the only preparation involved is with everyone being able to follow the instructions. There is space in the process to get instructions verbally, but this may disturb the meditative mood of this game. As there will be independent timing, providing a separate print for everyone may be the most practical solution. Among your options for print there are:
- the original publication of the work in the pdf of the doctoral thesis (French 2023, 32-34) https://ro.ecu.edu.au/cgi/viewcontent.cgi?article=2600&context=theses_hons
- this wiki page which puts the game into our standard wiki sections,
- an additional print subpage.
Game start
Consciously acknowledge the past owners of the land (even if you do not know their names). Introduce yourself to whoever’s listening. This should all be unspoken everywhere but your mind.
Gameplay instructions
Dirt Phase
Start by moving your attention to the land directly underneath your feet. Imagine the dirt underneath.
How old is the dirt beneath your feet? How much has it moved?
If the dirt is young, your sound should change up quickly.
If the dirt is old, your sounds should remain consistent.
Consider one speck of dirt amongst the thousands directly under your feet. Close your eyes and consider how it has moved, where it has been, and what is has seen over the years, decades, or eras.
Humanise this speck of dirt. This is the emotional driving force of the improvisation at this point in time.
With all this considered, make sound. Take as much time as you need to consider your performance.
Once you have explored it to a full-enough potential, indulge in a period of extended silence, and move on to the next phase.
Being Phase
Move your attention to the air around you as an object; it surrounds you totally like water surrounds a fish.
Breathe in. Is that air now yours?
If you answer yes, your sound should be personal and soft, barely noticeable to anyone but you.
If you answer no, your sound should be brazened and proud; a shared sound with everyone in your vicinity.
Consider the air as it moves through your face, down into your body, and back up and out of your face in cyclical manner. Follow the air’s movement, and use it as a throughline for your improvisation.
With all this considered, make sound. Take as much time as you need to consider your performance.
Once you have explored it to a full-enough potential, indulge in a period of extended silence, and move on to the next phase.
Dream Phase (part one)
Move your attention to the place you currently perform upon. Maybe you know it intimately, maybe you have never been here before. This does not matter.
Think about the future of this place you currently inhabit. Think on the micro level, the wear of the furniture. Maybe it won’t be here at all.
Open your eyes and observe the place as a series of individual objects. How long will they be here?
If the object changes quickly (i.e. replaced, removed, or damaged), create a short, percussive-like sound. This sound should be less than ten seconds.
If the object changes slowly (i.e. wear and tear upon years of existence), create a sound that slowly changes throughout its existence. This sound should be less than one minute.
If the object doesn’t change or grows (i.e. plants), create a sound that is full, rich, and evolving. This sound should be more than one minute.
Once you grow tired of observing the surroundings, indulge in a short period of silence, and move on to the final part of the Dream Phase.
Dream Phase (part two)
Keep your attention to your surroundings, but this time include yourself in this observation.
How long will you be here?
How long do you see yourself in this space? Will you ever return to this place? How long until you can’t see yourself coming back?
With this in mind, play a singular note, with a length that corresponds to your time, and a tone that corresponds to how you feel about it.
Game end
After that note has been played, sit in silence. Wait for the space to become quiet. Once it has, the piece has ended.
Notes
The piece comes from Playing music: Reconsidering game pieces through tabletop roleplaying game design dissertation. It is available online and gives additional inspiration and context.
Designer-composer
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competitive cooptional cooperative
free-improv on-off (constellations) in-genre algorithm ambient loop spatial minimal
dance draw (art) gestures guess interpret listen memory kids
composers events insert narrative quick random simple
dimensions rhythm speeding-up timed tonal
acapella found (+preparation) keyboard words
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