Hot Shoe Shuffle
(for sturdy soles)
a carpet of various sand/glass paper/paper and/or not paper
with a nod to BUSBY BERKELEY, FRED & GINGER, GREGORY HINES or MOVEMENTS MADE BY OTHER PEOPLE YOU HAVE OBSERVED
Describe this text or/and others
With suitable footwear
Careful now
Stephen Chase, March 2019
For Alessandro Alessandroni Stephen Chase
for 1 or more
breathing calmly, relaxed a very soft whistle every so often otherwise listening the border of breath and tone
aim to produce the same pitch each time after a while slowly draw a raised finger close to past the mouth focus on the changes as the finger draws near to the column of breath and passes
in a group: a shared pitch or each your own focus tutti and/or in own time
occasional flutter of finger back & forth past the mouth
Easter Geddes, 14-viii-22
game of flying sitting in a room noticing sounds and listening to them gently scanning and honing in on a sound noticing another and as gra du ally as you can transferring focus to the other sound sometimes a sudden shift sounds at the furthest reaches of the room sounds up close emanating from inside you all points in between
another game again sitting in a room focus in on one sound in the room then transfer your focus to a sound located outside the room a relay back and forth shift speed vary the force like badminton or something
best of three once again sitting in a room someone else sitting in another room focus in on one sound in your room then transfer your focus to the person sat in the other room swap your sounds a relay back and forth shifting speed varying the force the angle of service
With a nod to Alvin Lucier in his 90th year, and the work of Susan Hiller Stephen Chase, Geddes, viii-21
M Y TWO FEET IN HIS BO OTS ARE AT THE END OF HIS LE GS
Stephen Chase
Two participants sat at a table each facing the other
There is a dividing wall on the table to obscure hand actions from each other, though both can see the other’s face (an audience may see hands)
Both participants have an identical set of tuned (diatonic) desk bells1 numbered 1 - 8
Each participant has pencil and paper
1 Other instruments may be substituted, with a marked preference for resonant belllike tones and ought to be as near close to each other in terms of intonation and timbre as possible.
PART ONE
Both participants think of and write down a (nonrepeating) 4 number sequence using the available numbers associated with the bells
In turn, they transmit their numbers to each other via telepathic means noting down the number patterns received
Then, participant A plays the ‘received’ number sequence on their set of bells
Participant B responds playing the number sequence they originally ‘transmitted’
Then participant B plays the sequence they ‘received’ which is then answered by participant A’s ‘transmitted’ sequence
The above process is repeated this time with 5 or 3 note sequences, then again with 3 or 5 notes, 6 or 2, 2 or 6, 7 or 1, 1 or 7, 8 or 0, 0 or 8; then at least one pair of sequences of between 1 and 8 notes ad lib
Optional:
Each section of PART ONE (the 4, 5/3, 3/5, 6/2 sequence, etc.) may be preceded by a soundfile2 of gently enveloping white noise – a crescendo from nothing over the course of between 10 and 60 seconds which ends abruptly. The purpose of this is, in part, to prepare and clear space in the participants’ thoughts. Each time the end of these sounds signal the cessation of psychic transmission and that numbers should be written down before proceeding.
A near inaudible stereo soundfile2 of two sine tones slowly gliding in the vicinity of 18Hz may play during PART ONE. This may gradually become more audible and present towards the end of PART ONE.
2 A stereo soundfile may be requested from the ajamroomATgmailDOTcom or you may want to fabricate your own.
PART TWO
On an agreed signal both participants begin sounding each number sequence collated from PART ONE on the bells over and over quickly establishing a swift tempo and rhythmic patterns (this can be as simple as a unison pulse or pulses in ‘hocketed’ alternation back and forth, freely evolving and focussed).
Once a number sequence is established a participant gradually transforms the sequence into the sequence, as they hear it, played by their opposite.
On an agreed signal the duo moves on to play the next combination of patterns in the sequence (or shifts between patterns may be more gradual and overlapping).
The duo works its way through the sent and received patterns in the order: pattern sent, pattern received, sent, received, etc.
There is a significant (yet almost imperceptible) slowing in tempo over the course of this movement.
Newtown St Boswells, August/September 2019
Player 2’s part
TRANSMITTED RECEIVED
a. 4 notes 4 notes
b. 5 or 3 notes 5 or 3 notes
c. 3 or 5 notes 3 or 5 notes
d. 6 or 2 notes 6 or 2 notes
e. 2 or 6 notes 2 or 6 notes
f. 7 or 1 notes 7 or 1 notes
g. 1 or 7 notes 1 or 7 notes
h. 8 or 0 notes 8 or 0 notes
i. 0 or 8 notes 0 or 8 notes
j. No. of notes ad lib No. of notes ad lib
Ineluctable first public performance: under Premier Inn vents, Bank St Sheffield, 25vi-2010 ((schmetterling)), Table Manners, Ear Syrinxing, and hot shoe shuffle originally part of agate,ifnotadoor hot shoe shuffle first public performance: newCELF, 15-ix-19, Cardiff.
Otherpiecesintheseriesinclude:
a gate, if not a door (2011) text-sculpture-sound (Contributionto'Quadrophonic' exhibition,24-vto18-vi-11,BankStreetArts,Sheffield.)
Out-of-doors Suite (2011-2023) book of ~60 walking & listening pieces (monsetairetruc.bandcamp.com)
I am getting on nicely in the dark (2016) performer and audience of one (for WROUGHTperformancefestival , 15to17-iv-2016,Sheffield) for leonora carrington (2017) performer(s) and audience (Première:26-v-17, Sheffield.)
Signatures of all things I am here to read (2018/ ) 1+ performers, densities & direction of sound (1stversion:LindaKemp,NathanBettany,SC,16-v-2018,BBC Radio3LateJunction,Sheffield)
limits of the diaphane (2021) soundfile (monsetairetruc.bandcamp.com)
Northern Lines Align (2022) Text piece
Northern Lines Align Variation (2023) Text piece
A very short space of time through very short times of space (2011/2024- ) interruptions
You are walking through it howsomever (1997/2024- ) people, space, densities
