Scattered seats for both the artists and the audience were arranged within Art Gallery Miyauchi. This seating arrangement encouraged the audience to sit in such a way that they became part of the artwork in the space.
Texts used for the performance included;
1) extracts from the project's curatorial text.
2) 'cut-ups' (in Japanese and English); these derived from fragmented source texts by six poets and writers from Japan and the UK (Martin Thomas /Megumi Iwafuchi / Peter Yoah / Rupert Loydell /Ryota Yamada /Soshi Matsunobe). These cut-ups were originally generated through the online FUSS Countdown.
3) excerpts from the gallery director's notes for the project.
4) extracts from an artist statement by Kiyohito Mikami.
5) a series of scripts improvised during the performance.
The performance, which lasted approximately 2 hours, was highly improvised and the speakers were randomly invited into a glass booth to read from the scripts. Many of the texts used were also google-translated and then auto-read by a PC using a text-to-speech function. The computer-generated audio and the artists live voices were heard one after another creating a virtual ‘ensemble’ of computer generated and human voice sounds.
The entire loop of audio in the gallery during this performance was designed to welcome unexpected leaps in both sounds and meanings.
The auto-reading by the PC was in a voice which read the code-like scripts with a very smooth pitch and at a perfectly fluent speed. At the same time, the artists who were speaking had to contend with reading from unknown and broken texts, so their pitch was full of upheaval, confusion, and frustration.
A sound piece, ‘Humming’ (2013) by Soshi Matsunobe (consisting of 60, 1 minute long recordings of unstructured humming) played in the gallery throughout the exhibition and was also used as the foundation layer of sound during the spoken word performance.