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Sonic Flock was a Trojan Horse project, designed to engage with the mythic and to pick the locks of consciousness guarded by our often unwittingly innocent audience members. For the opening weekend of the Festival, fifteen black teepees will fill Federation Square, each big enough for just two people. This project was designed to be a mythic experience that could not be fully understood by the rational mind.

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We find then that there is not a single rule, however plausible, and however firmly grounded in epistemology, that is not violated at some time or other. It becomes evident that such violations are not accidental events, they are not results of insufficient knowledge or of inattention which might have been avoided.

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The capacity for the audience to predict outcomes was constantly subverted. Artists were rotated through the teepees according to a detailed schedule, but audience members were not informed about which artist was to be in which teepee at which time. Once having seen an act, an audience member would not be able to revisit that act.

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Performers, who were responsible for generating their content for the work, prioritized change over literal repetition, focussing their energies primarily on free improvisation and structured improvisation. Performers received instructions from me as the director for the project as to what material they could play. Instructions were delivered in ways that allowed performers freedom in interpretation, but were also designed to focus the broader argument of the collective experience as a whole.

Sound from within each tepee will be audible outside the tent. People walking through the Atrium will hear a texture of muffled sound coming from the tepees, and this effect is a deliberate feature of the work. The volume will not be loud…. Artists should perform something that has a degree of space i. Artists should listen to each other across the tents and think about how synergy can be preferenced amidst the random combinations of sonic events that will necessarily arise.

Acoustic sound is preferred over amplified sound. Here are some requirements to do with the functional limitations of the performance:. When no audience member is in the tent, the artist inside the tepee will occasionally strike a bell. The ringing of bells will create a collective spacious texture across all the tents.

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When someone enters the tent the artist allows the bell to ring out and then performs their piece for the audience member. This boundary is given with a little freedom. For some improvised ideas, once started, may resist the 5-minute limitation. Serve the idea first.

Ushers will guide audience members in and out of the tepees, and a large gong will sound every 20 minutes to demarcate time and cue tent changes. Perhaps this is true of all experience. From my own perspective, the teepees conjured childhood memories of inventing elaborate adventures around sand castles and dug holes by the sea. Those games for me were a playful form of passing over from the corporeal world of the hot summer beach to the mythic world of embodied imagination.

The shamanic was something celebrated through the planning of the project.

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Here we have a challenge for the empiricists: by what criterion does one select shamanic performers? I relied on what I would call qualified instinct. In this way I would ensure that the average street level punter probably not an aficionado of cutting-edge sonic creativity would receive an experience that was alien to their normal sonic life. One secret to maintaining the shamanic openness of my fellow Minotaurs was to never mention anything to do with the mythic, Minotaurs, shamanism or the unconscious.

To ruminate on such things would have killed the magic. As a director, I trusted my selection of shamans and respected that it might be important for them to find their shamanic natures through the handling of the material itself. In this way our Minotaur performer and our Theseus audient could share the moment of adventure together in a non-didactic and non-bullshit way. The space within the teepees was carefully designed. It was DIY all the way. Together we resolved teepees into their final form. The teepee walls were made of thick black car carpet.

The carpet was bolted to an aluminum frame in such a way that the aluminum could not be seen from the inside of the teepee. Thus the performer and audience member shared a primordial, undefined space Fig. The roof of the space was open to the heavens. Archetypally speaking, this heavenly orifice could be thought of as a doorway to the mythic. Just as people might be listening together across our clustered little black booths, they might also be flying together against the infinite blue as one sonic flock collectively imagining. The whole process had a rather beautiful effect on audiences and performers alike.

The Radley Place fascinated Dill. In spite of our warnings and explanations it drew him as the moon draws water, but drew him no nearer than the light-pole on the corner, a safe distance from the Radley gate. There he would stand, his arm around the fat pole, staring and wondering. Just like Dill, captivated outside the Radley Place, visitors to the Sonic Flock would float about the general area of our teepee stampede before being reeled in by gentle mythic reckonings. The great experience for me as a performer within the project was having the opportunity of performing for my two little daughters, aged five and two-and-an-itty-bit at the time.

Their eyes were wide like moons as their father made primordial vocalisations and activated a tray of little-boy hoardings to fill the pockets picked: small motors and found sounds. Richie Allen, who built the teepees with me, also performed, and he included in his array of handmade electronic gadgets a rather cheeky Merlin doll. This little Merlin was a prophet of sorts.

The user could ask Merlin a question and then push a button for an answer.


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In one particular performance Richie encouraged a couple to ask Merlin a question:. Maybe you should ask Merlin something else. And somehow it seems healthy that people can unlock themselves through the safety of creative cultural experiences. This point informed the choice to include The Amplified Elephants in the project. The Amplified Elephants is an ensemble of sound artists with intellectual disabilities that I work with at the Footscray Community Arts Centre Hullick Individual members of the Elephants have each had to find ways around their cognitive challenges so as to get by in life.

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While this trait may present problems for some of the pragmatic activities in life, the power of heightened imagination is incredibly useful for sonic art making. It is also incredibly useful for unpicking the closed minds of the rest of us. This points to why Jay and the other Elephants were crucial contributors to the mythic agenda. These comments give some insight as to how a sonic work can be constructed as an essay articulating a contribution to knowledge and wisdom.

Sonic Flock was not a rationalist thesis, but a quietly designed, intuitive experience, where the ambition of the work resided not in James Hullick Fig. Indeed, the whole Sonic Flock project was a machine to encourage inner realisation: to seek thyself. To learn of ourselves communally through the pollination of education, research and the making of things, experiences and ideas; to come to know our individual selves more intimately through the works of the many and our own personalized, reflective DIY hard work. In pondering that memory I see a golden thread that passed through our humble project, stretched out into millennia hence of auditory gatherings, and woven stretched back through the ages to the dawn of these maddening sapiens.

And so I am reminded: there was DIY sound before there was institutionalized sound: the ancients will tell you so, through artifacts made by hand and spun in eons; those forgotten hands that have incrementally made your precious abilities so possible and real.


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    8. Remember them gratefully. Cage, John. Silence: Lectures and writings. Campbell, Joseph. Myths of Light: Eastern Metaphors of the Eternal. Consumer Affairs Victoria. Consumer Affairs Victoria Website. Melbourne: Consumer Affairs Victoria. Feyerabend, Paul. Against Method. Fourth edition. London: Verso, [1st ed. Graeber, David. The Utopia of Rules: On technology, stupidity and the secret joys of bureaucracy. New York: Melville House Publishing. Hullick, James. Melbourne Festival.

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