Bingodisiac

Auckland. June 18-19th 2011. Doors open 7pm
Audio Foundation H.Q.
@ sub-basement of the Parisian tie factory, 4 Poynton Terrace, behind St. Kevin’s arcade, (k’rd) central Auckland, NZ




In Body / Spirit or both: Andrea Rossi, Anna-Lisa Sviatko, Axel Scott , Caroline Manins , Carvin Knowles, Damian Golfinopoulos, David Rayner , Drew Andrew Mcmillan, Dzovinar, Edwina Thorne, Emit Snake-Beings, Emma Skellan , Erika Strata , Gem Indigo, Greg Locke, Hellen Robinson, James Rimmer , Jay Hollows  , Jed Town , Jessica Tsai , Joshua Lynn, Kristian Larsen, Lani Feltham, Odee Rose , Oscar Hidalgo , Otis Mace , Paul Smith , Pip Six, RG Shaw , Sam Gibbs, Shanon O'Sullivan, , Soma, Stuart Grimshaw , Tigran Grigaryan, The Cult of the dead light-bulb, Vaaaal Lerieee , Val Smith, Veronika Kuliskova , Yolanda Canardo, Anthony, Darren Hannah , Ruth Wynne, Tracey Taylor , Garry Brandon, Alex Mackrill, Frank Pinker, Daniel Monteath, Geoff Doube, Zoe Drayton, Francis Skypemaster

www.snakebeings.co.nz

Bingo-disiac
Bingodisiac is an invented word which combines the ecstatic meaning in the word aphrodisiac with the popular game of chance to describe the trance-like state of mind, induced by random numbers, which has reportedly occurred during games of Bingo. Random numbers have been generated and will be displayed on the left side of the screen during the projection of a silent version of Emit Snake-Beings’ Alchemical Pilgrimage (2011 edit). The musicians of the kaosphere orchestra have each been given a Bingo card with numbers representing the cues for them to play. When a musician’s ‘number comes up’ they are thrown into an improvised musical-visual game in which they interact with the screen images as well as any other musicians who have the same number on their Bingo card.
The chance element occurs since none of the musicians know who has which number. At each screening new numbers are randomly allocated to the musicians by the Bingo-Master, who incidentally also dispenses pop-corn to the audience when their own ‘number comes up’. Each number has been allocated a word which can be used as an influence on the sound produced by the musician. These words are connected to the imagery shown on the screen and are supplied to the musicians in advance rather than allowing them to see the actual film before the performance.

Teleological presence.
During the show the sounds produced by remote musicians will be relayed via the internet from near mount Taranaki and also from Reus in Catalonia. Spain is geographically opposite to New Zealand on the globe. These sounds will comprise ‘horror flutes’ from brother Nexlig and Jakob, aged five, and Oscar Hidalgo and the Karen Karnak orchestra. Their remote presence will be modulated by the Skypist operator who will relay moving images of the screened film for the remote musicians to interact with. This will occur during the sections of the film made up of the original Alchemical Pilgrimage (2002) which depicts an expedition to mount Te Aroha by three kaos-monks who believe that mystical techno-magic or electrickery is being transmitted by  the television antenna placed at the summit of the sacred mountain.  This theme runs throughout the performance screening of Bingodisiac, as a reminder of the connections between technology and magic.

The event ends when the compilation of films stops projecting: at exactly 47 minutes from the start. At some point in the show Bingo numbers distributed to the audience will trigger a reaction, that is, when the audience’s ‘number comes up’. 

The filamental conductor
In addition to number cues there is also the filamental conductor which is a triangular array of 22 lightbulbs (some say representing the 22 cards of the major arcana of the tarot, but this rumour has not been confirmed). The  filamental conductor displays six different shapes, depending on which light bulbs are lit, such as a cross, triangle, diamond, line, etc. These shapes are used to conduct additional parameters of the orchestra such as loop and repetition, sparseness and performers cues. The filamental conductor is controlled by a second Bingo-Master to allow a mixture of intension and randomness to the event. The use of light-bulbs is influenced by the work of The Cult of the Dead Light-Bulb, whose slogan ‘without conscious effort’ describes an intuitive, automated and analogical working practice.
Nana Shamanic
A performer covertly placed in the audience may be awaiting their cue to perform an improvised dance evoking and channelling the deity of Bingo-Number intoxication known as Nana Shamanic. Nana Shamanic is part human, part mythical distillation of the bingo player’s paradigm. Nana, obvious in her blue rinse and cloak of many numbers, is an age-old shamanic high priestess as well as an old-aged veteran of Bingo Hall ‘Dropsy’: a more severe case of Bingodisiac in which numbers fall like gold from the heavens, rather than ‘come up’ as is the usual case. Nana Shamanic is an adept at translating numbers into body movements using a complex method of allocating limbs to numbers and division of factors to create numbers within numbers allocated to smaller and smaller joints and muscles within the main body. This system of interpretive dance has a further unpredictability in the case of prime numbers. When a prime number such as 3,7,9,11,13,23,47 ‘comes up’ the allocation system works on the whole body at once: resulting in a ‘body pop’ which has to be seen to be understood.
Being part-mythical some members of the audience may experience Nana Shamanic’s performance as a slight blurring of periphery vision, and nothing more.

23* movements of the Kaosphere Orchestra:

*17 Bingo numbers (above) and six Filamental conductors = 23 (or 17 X 6 = 102 combinations).
The six stages of the filamental conductor –

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	Cue Special Instruments.
	Even Numbers Loop.
	Odd Numbers Loop.

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