The story behind the numbers on the found sheet of paper was read as follows: X, working in the building at a previous point in time, has a calculation to make. X estimates the solution to be approximately 650, then sets about reckoning it more precisely. 17 + 39 + 120 = 176. 176 x 3 (or 17 + 39 + 120 + 17 + 39 + 120 + 17 + 39 + 120) = 528. 528 + 72 = 600. 600 + 30 = 630 (which is approximately 650).
These numbers can be translated into a series of compartments of activity: A1 (17 seconds), B1 (39 seconds), C1 (120 seconds), A2 (17 seconds), etc.
One complete cycle of a sine wave is divided into two halves, a parabola above the x/time axis, followed by its mirror image below the x/time axis.
If this series of compartments of activity constitutes the first half of a sine wave, then it follows that one complete wave can by achieved by adding its mirror image: A1, B1, C1, A2, B2, C2, A3, B3, C3, D, E, e, d, c3, b3, a3, c2, b2, a2, c1, b1, a1.
The three-phase sinusoidal waveform pattern was thus translated into a time structure consisting of a series of compartments of activity for three performers (Sue Palmer, Matt Fletcher and Naomi Ludlam).
All action was task-based. During the performance Sue, Matt and Naomi (red, blue and yellow phases) each traced the same route through the site. Whilst maintaining the same compartmentalised structure certain variations in performance activities were developed for each performer. Through rigorous practice each performer learned to fit each task precisely to the length of time assigned to its compartment.
The start of each new compartment was audibly signalled by the recorded voice of a fourth performer, Stag Theodore (saying either Sue, Matt or Naomi, as appropriate). Physically, Stag was a constant presence, supporting the others as required. This function could be interpreted as the x/time axis or the neutral electrical wire. Each time a phase crossed the x/time axis on the sine wave graph (start, mid-point and end) Stag made actual physical contact with the relevant performer. When not assisting other performers Stag remained on the central axis of the site, either pulling on a circular rope which slowly moved the giant crane towards the audience or sitting on a chair.
The audience were positioned at the end of the site furthest from the large double doors, angled slightly towards the balcony. This provided a clear view of the most interesting architectural features and a rare opportunity to play with great depth/perspective.
Despite the underlying simplicity a fairly complex series of patterns emerged through time, as different performers' actions were layered on top of one another. The result was a performative interpretation of one cycle of the sinusoidal waveform pattern of three-phase alternating electrical current.
The doors open, fifteen minutes before the advertised start time. The audience start to enter. Nine empty buckets form a line down the central axis of the space. Natural light enters the building through its glass roof.
Matt stands at the microphone. He speaks, pausing after each item:
As Matt speaks and the audience enters Stag, Sue and Naomi each make three journeys. One by one they collect a bucket, go outside, fill it with water from the River Exe, return to the building and position it, ready for later action. Each performer deposits one bucket at A1, one at A2, and one at A3. After fifteen minutes the doors are shut and all nine buckets are in place.
About ten minutes after the advertised start time Matt finishes and leaves the main space. It is almost completely dark now.
| Before |
Stag |
Stag enters and stands in front of the audience. He switches on a caving light which is on a band around his forehead, and directly addresses the audience:
Why don't birds electrocute themselves on power cables? The answer is simple! Birds land with both feet at the same time, and so do not interrupt the flow of electricity.9
Stag leaves the main space and ascends the stairs to the 2nd floor, out of sight of the audience. |
| |
Slides |
1. 3 PHASE (650 approx)
2. Graph showing 3 phase pattern
3. Found number sequence
4. Black slide |
| 00' 00" |
Sue A1 |
The 2nd floor door opens. A light shines through it. Stag helps Sue onto the step, then descends to the ground floor. Sue stands still, staring across the space, holding a bucket of water. Stag makes his way to the crane, positioned at the far end of the space. |
| |
Slide |
Primary red gel |
| 00' 17" |
Sue B1 |
Sue pours water over the ledge onto the balcony below. |
| |
Slide |
Black slide |
| 00' 56" |
Sue C1 |
The 2nd floor door closes. Sue picks up the powerful handheld light, which has been illuminating her from behind, descends one floor and walks slowly to the far end of the balcony, out of sight of the audience. Light flickers through the glass panelled doors as she passes them. She repeatedly chants STOP THE CURRENT, rising and falling in pitch. She puts down the light and picks up a bucket of water.
Stag puts on a pair of gloves, and pulls on the circular rope attached to the crane. It inches its way towards the audience, creaking as it goes. |
| |
Slides |
1. When I was at Primary School, we didn't have our own swimming pool.
2. We had to get on the bus and go to the public one in Bridgwater.
3. It was a huge building, with white tiles, blue paint, a long echo and the stench of chlorine.
4. The instructor had a grey beard, a loud voice and a whistle.
5. We all used to line up in the water at the edge of the pool, holding on to the bar, and he would say to us kids:
6. 'Sit on the bottom of the pool cross-legged while I count to 30.'
7. I'm sure it can't have been thirty, that's impossible, but that's what I remember.
8. If you came up too early, he used to make you go back and do it again.10
9. Black slide |
| 02' 56" |
Sue A2 |
Sue stands still, staring across the space, holding the bucket of water.
Stag stops pulling the crane, and takes off his gloves. One by one, he turns on a series of industrial floodlights which are focused up onto the arches to the left of the audience. He sits on a chair in the centre of the space, facing the audience. |
| 03' 13" |
Sue B2 |
Sue pours water over the balcony onto the ground below. |
| 03' 52" |
Sue C2 |
Sue picks up her light and walks slowly along the balcony, towards the audience. Light flickers around the space as she walks. She puts down the light and picks up a bucket of water. |
| 05' 52" |
Sue A3 |
Sue stands still, staring across the space, holding the bucket of water. |
| 06' 09" |
Sue B3 |
Sue pours water over the balcony onto the ground below.
Stag stands up. He leaves the main space and ascends the stairs to the 2nd floor, out of sight of the audience. |
| 06' 48" |
Sue C3 |
Sue picks up her light and walks slowly along the balcony, towards the audience. Light flickers around the space as she walks. Water starts to fall in front of her. She puts down the light and collects the water in a number of cups. When the waterfall ceases she empties the cups of water into the bubbling tea-urn on the balcony. |
| 07' 00" |
Matt A1 |
The 2nd floor door opens. A light shines through it. Stag helps Matt onto the step, then descends to the ground floor. Matt stands still, staring across the space, holding a bucket of water. Stag makes his way to the crane. |
| |
Slide |
Primary blue gel |
| 07' 17" |
Matt B1 |
Matt pours water over the ledge onto the balcony below. |
| |
Slide |
Black slide |
| 07' 56" |
Matt C1 |
The 2nd floor door closes. Matt picks up the powerful handheld light, which has been illuminating him from behind, descends one floor and walks slowly to the far end of the balcony, out of sight of the audience. Light flickers through the glass panelled doors as he passes them. He repeatedly chants STOP THE CURRENT, rising and falling in pitch. He puts down the light and picks up a bucket of water.
Stag puts on his gloves, and pulls on the circular rope attached to the crane. It inches its way towards the audience, creaking as it goes. |
| 08' 48" |
Sue D |
Sue stares across the space and speaks:
Wherever I've lived I've always overlooked the river on my right, never on my left. . . . It has a will of its own - the river, because we've shaped it and channelled it and float on it but you can't see the bottom, and that's where its will is, unpredictable, uncertain, on occasion, consuming the very people who love it, accepting rain then overflowing its banks. It has a will alright. . . . We should have all been called fish. We loved the water so much we should have lived in it, but only up to our necks.11
Stag stops pulling the crane, and takes off his gloves. He leaves the main space and ascends the stairs to the balcony. |
| 09' 56" |
Matt A2 |
Matt stands still, staring across the space, holding the bucket of water. |
| 10' 00" |
Sue E |
Sue walks along the balcony and descends the internal staircase as she speaks, accompanied by Stag:
I totally disagree with Stag about his birds on power lines theory, because the other day I was cycling to work past the big pylon at Countess Weir and there were six or seven cormorants sitting on the power lines. And I stopped to watch them. One of them jumped up and turned around, and I'm sure it landed with one foot slightly before the other one. And it didn't die. If Stag was right, you'd see piles of dead birds underneath power lines, which you don't.12 |
| 10' 13" |
Matt B2 |
Matt pours water over the balcony onto the ground below. |
| 10' 30" |
Sue e |
The handheld light is turned off. Stag leads Sue to the front of the audience:
Stag is wrong! |
| 10' 52" |
Matt C2 |
Matt picks up his light and walks slowly along the balcony, towards the audience. Light flickers around the space as he walks. He puts down the light and picks up a bucket of water. |
| 11' 00" |
Sue d |
Sue directly addresses the audience:
He remembered an old couple from the country who bought an electric incandescent lamp, used a whole box of matches in trying to light it, and declared the whole thing to be a swindle. . . . He remembered how marvellous it was when the new electric lamp was installed in his home. He came home, hung his coat on a new peg they'd put on the wall, the light came on and stayed on all night. . . . He remembered a wall plaque which stated, 'The use of electricity for lighting is in no way harmful to sleep.' . . . She remembered worrying about the electricity dripping all over the floor if no light bulb was in the socket. . . . I remember my Jenny's house. A 1960s plastic dolls' house made of grey slot-together boxes with clear plastic lids. Inside were tiny table lamps with yellow lampshades on blue turquoise stands. They all wired up to a battery outside the house. In the evening, when the lights were on, it looked so cosy I wanted to live in it.13
Stag sits on a chair in the centre of the space, facing the audience. |
| 12' 12" |
Sue c3 |
Sue switches on the Van de Graaff generator, and places one hand on the top. Her hair stands on end as she intones the text:
STAY LOW. You can sometimes sense that a lightning strike is imminent by a tingling sensation in the skin and the sensation of the hair standing on end. If you are standing up, drop to the ground AT ONCE, going first to your knees with the hands touching the ground. If you should be struck, the charge may take the easiest route to the earth through your arms - missing the torso and possibly saving you from heart failure or asphyxiation. QUICKLY LIE FLAT.14 |
| 12' 52" |
Matt A3 |
Matt stands still, staring across the space, holding the bucket of water. |
| 13' 09" |
Matt B3 |
Matt pours water over the balcony onto the ground below.
Stag stands up. He leaves the main space and ascends the stairs to the 2nd floor, out of sight of the audience. |
| 13' 48" |
Matt C3 |
Matt picks up his light and walks slowly along the balcony, towards the audience. Light flickers around the space as he walks. Water starts to fall in front of him. He puts down the light and collects the water in a number of cups. When the waterfall ceases he empties the cups of water into the bubbling tea-urn on the balcony. |
| 14' 00" |
Naomi A1 |
The 2nd floor door opens. A light shines through it. Stag helps Naomi onto the step, then descends to the ground floor. Naomi stands still, staring across the space, holding a bucket of water. Stag makes his way to the crane. |
| |
Slide |
Primary yellow gel |
| 14' 12" |
Sue b3 |
Sue discharges the generator. She dresses in non-conductive material: a wool jumper and a plastic raincoat. |
| 14' 17" |
Naomi B1 |
Naomi pours water over the ledge onto the balcony below. |
| |
Slide |
Black slide |
| 14' 51" |
Sue a3 |
Sue stands still, staring across the space. |
| 14' 56" |
Naomi C1 |
The 2nd floor door closes. Naomi picks up the powerful handheld light, which has been illuminating her from behind, descends one floor and walks slowly to the far end of the balcony, out of sight of the audience. Light flickers through the glass panelled doors as she passes them. She repeatedly chants STOP THE CURRENT, rising and falling in pitch. She puts down the light and picks up a bucket of water.
Stag puts on his gloves, and pulls on the circular rope attached to the crane. It inches its way towards the audience, creaking as it goes. |
| 15' 08" |
Sue c2 |
Sue turns on the 16mm projector, and sits to watch a sequence of the educational film on the nature of electrical power (no sound). |
| 15' 48" |
Matt D |
Matt stares across the space and speaks:
Wherever I've lived I've always overlooked the river - I match myself to its rhythm and am at ease. . . . It has a will of its own - the river. Through its twists and turns, it flows relentlessly onwards. . . . We should have all been called fish. We loved the water so much we should have lived in it. What technology would we develop then?15
Stag stops pulling the crane, and takes off his gloves. He leaves the main space and ascends the stairs to the balcony. |
| 16' 56" |
Naomi A2 |
Naomi stands still, staring across the space, holding the bucket of water. |
| 17' 00" |
Matt E |
Matt walks along the balcony and descends the internal staircase as he speaks, accompanied by Stag:
I agree with Stag because it seems to me that if a bird landed on a wire with just one foot, the electricity would shoot straight up its body to its head and completely frazzle its brain. Whereas if the bird lands with two feet, it's obvious that the electricity is going to take the path of least resistance, pass up one leg and down the other, and leave the bird unharmed.16 |
| 17' 08" |
Sue b2 |
Sue turns off the projector. She dresses in more non-conductive material: a swimming cap and rubber gloves. |
| 17' 13" |
Naomi B2 |
Naomi pours water over the balcony onto the ground below. |
| 17' 30" |
Matt e |
The handheld light is turned off. Stag leads Matt to the front of the audience:
Stag is right! |
| 17' 47" |
Sue a2 |
Sue stands still, staring across the space. |
| 17' 52" |
Naomi C2 |
Naomi picks up her light and walks slowly along the balcony, towards the audience. Light flickers around the space as she walks. She puts down the light and picks up a bucket of water. |
| 18' 00" |
Matt d |
Matt directly addresses the audience:
He remembered watching his father standing on a bed to disconnect an appliance from the light socket. There was a short and sparks flew. . . . He remembered being ill in bed, as a boy, playing with a car battery and an electric motor. . . . He remembered growing up in Nigeria, where a diesel electric generator was necessary to keep a hospital running. . . . She remembered going to the garage to charge the accumulators which powered the radio. The radio was called 'echo'. . . . I remember when I was 6, I wanted a fire engine for Christmas. One with a ladder which went up and down. My presents were always put at the foot of my bed for me to discover when I woke up. I woke at 3 in the morning and there they were. A stocking, a construction kit and my fire engine. I switched it on and - nothing happened. I ran, crying, into my parents' room, wailing that all my presents were rubbish. My dad had to get up and find some batteries for my new fire engine.17 |
| 18' 04" |
Sue c1 |
Sue fetches a box and lays it down in front of the audience. She takes out a selection of 1960s plastic dolls' house furniture, some wires and a battery. She constructs a small domestic scene on top of the box, wires up a tiny table lamp and switches it on. She puts everything back into the box and puts it to one side. Stag accompanies her throughout, lighting the way and repeatedly chanting STOP THE CURRENT. Sue sings in harmony. |
| 19' 12" |
Matt c3 |
Matt switches on the Van de Graaff generator, and places one hand on the top. His hair stands on end as he intones the text:
What is an insulator? What is a conductor? State with regard to the following list of substances which are good, medium or bad conductors, and which good, medium or bad insulators. In what way are they used, if any, in electrical work? Cotton, copper, asbestos, rubber, brass, mica, tungsten, carbon, Bakelite, paraffin wax, lead, sealing wax, salt water, resin oil, silk, shellac varnish, mercury, air. . . . What are the conditions which make electric shocks most dangerous? How would you advise a customer to guard against electric shocks in a bathroom or kitchen? . . . How would you treat a person suffering from a bad electric shock?18 |
| 19' 52" |
Naomi A3 |
Naomi stands still, staring across the space, holding the bucket of water. |
| 20' 04" |
Sue b1 |
Sue straps blocks of wood to the bottom of her feet and moves to the far end of the space. Stag observes her. |
| 20' 09" |
Naomi B3 |
Naomi pours water over the balcony onto the ground below. |
| 20' 43" |
Sue a1 |
Sue stands still, staring at the large double doors. Stag partially opens one door, and a shaft of orange street light catches Sue. |
| |
Slide |
Primary red gel |
| 20' 48" |
Naomi C3 |
Naomi picks up her light and walks along the balcony, to the tea-urn. She puts down the light. She constructs a small turbine out of aluminium foil, a pencil and a drawing pin. She places the turbine in the jet of steam radiating from the tea-urn. She puts down the turbine. |
| 21' 00" |
Sue end |
Sue exits. Stag closes the door and sits on a chair in the centre of the space, facing away from the audience. |
| |
Slide |
Black slide |
| 21' 12" |
Matt b3 |
Matt discharges the generator. He dresses in non-conductive material: a wool jumper and a plastic raincoat. |
| 21' 51" |
Matt a3 |
Matt stands still, staring across the space. |
| 22' 08" |
Matt c2 |
Matt turns on the 16mm projector, and sits to watch a sequence of the educational film on the nature of electrical power (no sound). |
| 22' 48" |
Naomi D |
Naomi stares across the space and speaks:
Wherever I've lived I've always overlooked the river as though my senses have been asleep to it. . . . It has a will of its own - the river, its own territory, determining the existence or otherwise of things in or near it. . . . We should have all been called fish. We loved the water so much we should have lived in it, breathing the water.19
Stag stands up. He leaves the main space and ascends the stairs to the balcony. |
| 24' 00" |
Naomi E |
Naomi walks along the balcony and descends the internal staircase as she speaks, accompanied by Stag:
I disagree with Stag because electricity always takes the path of least resistance, so it has no interest in going through the bird's legs at all. If, however, the bird were to have a really long tail which reached to the ground, the electricity would try to earth itself. But that's a whole different story.20 |
| 24' 08" |
Matt b2 |
Matt turns off the projector. He dresses in more non-conductive material: a swimming cap and rubber gloves. |
| 24' 30" |
Naomi e |
The handheld light is turned off. Stag leads Naomi to the front of the audience:
Stag is wrong! |
| 24' 47" |
Matt a2 |
Matt stands still, staring across the space. |
| 25' 00" |
Naomi d |
Naomi directly addresses the audience:
He remembered sticking balloons to the ceiling with static electricity. . . . He remembered changing from gas to electricity during the war, and his father saying, 'It's a ha'penny a unit. Don't leave anything on!' . . . He remembered playing with a bow and arrow as a boy, and the old man in the village who said, 'Don't play with them near the pylons. If you hit them, the whole World'll blow up.' . . . He remembered playing with a bow and arrow in the farm-yard. An arrow fired into the air came down and hit a pig. The pig took fright, ran full tilt back to the sty, collided with a junction box. Sparks flew everywhere. The pig was found a mile down the road with a great burn down its side. . . . I remember arriving at our new house. The previous owners had taken all the light bulbs with them. As it was dark we had to hang a torch from the top of the stairs to see to move in.21 |
| 25' 04" |
Matt c1 |
Matt fetches a box and lays it down in front of the audience. He takes out a toy fire engine and some batteries. He puts the batteries in the toy and switches it on. It moves around the floor, flashing its light. Matt follows it, attending to it as necessary. Stag accompanies him throughout, lighting the way and repeatedly chanting STOP THE CURRENT. Matt sings in harmony. |
| 26' 12" |
Naomi c3 |
Naomi switches on the Van de Graaff generator, and places one hand on the top. Her hair stands on end as she intones the text:
If the casualty is still in contact with electricity, STOP THE CURRENT at once by switching it off at the mains or pulling out the plug. If this is not possible, knock the casualty's limb clear of the electrical contact. Stand on a dry surface, for example, a piece of wood, a folded newspaper or a rubber mat, and carefully knock the limb clear using a similar material. Avoid touching anything wet because water conducts electricity. Do not attempt first aid until the contact has been broken.22 |
| 27' 04" |
Matt b1 |
Matt collects a pile of newspapers and moves to the far end of the space. He places them on the ground. Stag observes him. |
| 27' 43" |
Matt a1 |
Matt stands still, on the newspapers, staring at the large double doors. Stag partially opens one door, and a shaft of orange street light catches Matt. |
| |
Slide |
Primary blue gel |
| 28' 00" |
Matt end |
Matt exits. Stag closes the door and sits on a chair in the centre of the space, facing away from the audience. |
| |
Slide |
Black slide |
| 28' 12" |
Naomi b3 |
Naomi discharges the generator. She dresses in non-conductive material: a wool jumper and a plastic raincoat. |
| 28' 51" |
Naomi a3 |
Naomi stands still, staring across the space. |
| 29' 08" |
Naomi c2 |
Naomi turns on the 16mm projector, and sits to watch a sequence of the educational film on the nature of electrical power (with sound). Recorded commentary:
. . . Here is another kind of power. The power of steam in locomotives, like this, was used before you were born. . . . Whether the engine is a locomotive or a toy steam engine the main parts are the same. There's a boiler that holds water, and there is a fire that changes the water into steam. When the water boils into steam, the pressure of the steam makes a wheel turn. In this kind of engine the wheel is turned by a piston that goes in and out. . . . The power of steam will make a wheel turn in another way. You can make a steam turbine by cutting a piece of aluminium kitchen foil like this. A pin stuck in a pencil eraser will hold it. . . .23 |
| 31' 08" |
Naomi b2 |
Naomi turns off the projector. She dresses in more non-conductive material: a swimming cap and rubber gloves. |
| 31' 47" |
Naomi a2 |
Naomi stands still, staring across the space. Stag stands up. |
| 32' 04" |
Naomi c1 |
One by one, Naomi switches off the industrial floodlights. Stag accompanies her throughout, lighting the way and repeatedly chanting STOP THE CURRENT. Naomi sings in harmony. |
| |
Slides |
1. empty
2. tiled
3. balconied
4. dirty
5. derelict
6. contradictory
7. expectant
8. pregnant
9. statuesque
10. functional24
11. Black slide |
| 34' 04" |
Naomi b1 |
Naomi collects a rubber mat and moves to the far end of the space. She places it on the ground. Stag observes her. |
| 34' 43" |
Naomi a1 |
Naomi stands still, on the rubber mat, staring at the large double doors. Stag partially opens one door, and a shaft of orange street light catches Naomi. |
| |
Slide |
Primary yellow gel |
| 35' 00" |
Naomi end |
Naomi exits. Stag fully opens the double doors, and the space is bathed in orange street light. |
| |
Slide |
Black slide |
| After |
Stag |
Stag wheels in an enormous cable drum, along the centre axis of the space, stopping it just in front of the audience. He directly addresses them:
When I was 12 we visited London for a few days to stay with my Auntie Elektra. I remember standing on the underground, waiting for a train, when a man jumped off the platform on to the live rails. . . . Nothing happened to him, because he landed with both feet at the same time.25
Stag switches off the caving light attached to his forehead. He turns around, exits, and shuts the double doors. |
| |
Slides |
When the doors are shut:
1. Found number sequence
2. Graph showing 3 phase pattern
3. Black slide |
