PLENUM/<KOP> - The scenario

Act One: Gathering of the tribes
1:30 (7pm - 8:30pm)

At the townhall- 8 groups are formed around 8 microphones, a working station with PD (pure data) soundists, a long table with food and drinks, a punch bag and a microphone centrally placed, two notetakers with a shared microphone, an MC guides the proceedings for the ACTS.

The groups consist of either existing media/cultural collectives or groups formed for the night. Each group is asked to discuss among themselves "an Agenda for media/net culture today" to be presented in ACT 2.

Each group's verbal exchanges are picked up by a microphone and fed into a PD patch. In addition to participating groups, we expect an audience of onlookers, who are free to roam among the groups or choose to join any group. For the individuals who decide not to be part of any group,the centrally located microphone is available for singling out their voices.

The two note takers serve as observers, narrators and make occasional interventions at the PLENUM session. Entrusted with a mike of their own, the note takers are free to break in at any given time, to state the facts and serve to remind and comment on noted points.

Interlude One: Patch with the patchers
1:30 (8:30 - 10:00)

The Pd artists rework the patches used to process sound data. Programmed as rewritable, extendible software, the patch takes into account the sound data's frequency and amplitude for statistical analysis. Meanwhile the participants chat, cook and eat.

Act Two: What's on the table?
2:00 (10:00 - 00:00)

Each group presents its Agenda to be adopted for the PLENUM - plenary session. To advocate and argument for the Agenda¹s admission is the focus of ACT2. A round table session follows. Individuals are welcome to present their own agenda without a group backing it up. The individually presented topics can also be accepted for discussion.

3 Agenda are to be 'collectively' decided for "putting on the table". The selection and decision of the final 3 Agenda is made by general consensus, not by voting, but acclamation.

The PLENUM sound patch interacts with the mood (acclamation) of the room/humans. Sound slicing or music sequences can be automatically triggered and take over the space as dominant element.

>>>>>>>>>>>> I N T E R M I S S I O N <<<<<<<<<<<<

1:00 (00:00 - 01:00 )
THE LOST HOUR for transition to summer time

Act Three: Trade for power
1:30 (1:00 - 2:30)

We start this act by identifying the individuals with strong views and arguments. The Duel begins.

Whenever two participants appear to have strongly opposing views, a ring is made and they enter a one-to-one debating duel. Through this debating process, we identify the possible leader(s) to present the PLENUM Agenda. Points of Agenda debated. The sound patch works to accompany, give accent to or mute the speeches of participants.

At the end of ACT 3, 3 Agenda are to be finalized.

Interlude Two: Ascend to the throne
1:00 (2:30 - 3:30)

PD artists rework the software to explore the escalatory dynamics.

Act Four: The emperor's new clothes
2:00 (3:30 - 5:30)

A 30 minutes sound performance commences ACT 4. Not unlike an operatic chorus, the patchers made an impressionistic output, in accord or disaccord with human elements.

We start voting (by acclamation) for a PLENUM spokesperson. The spokesperson is expected to summarize and footnote the 3 Agenda. She is expected to add experience and gravity to the 3 Agenda. The authority which is given to the spokesperson can be revoked at any time. This is expected to happen via bargaining and horse trading among the participants. In principle, the chosen spokesperson has a minimum lifespan of 15 minutes and can thereafter be voted down or self-retire at any time.

The process of voting a leader in and out of power is expected to be cycled through ACT 4.

At the end of ACT 4, we conclude with two possible endings ­ A publicly agreed spokesperson is elected or no one can be agreed on to hold the power of the spokesperson. The soundscape dramatizes the proceedings and leads to final escalation and crash of tired participants.

Act Five: Walk the dog
1:30 (5:30 - 7:00)

A post match analysis starts with a calm narration on certain statistical aspects by the notetakers. Statistics taken concern the frequency of buzzwords, the distribution of speakers, the length of speaking times, the punching of the punching bag and other yet to be decided parameters.

At 6:50, the sun is due to rise on this day of March 26, the beginning of summer time. PLENUM closes its session and leads all its participants to walk out of the townhall in the direction of River Thames.

Walk the River Thames.
Down the streams.
Meet me for breakfast at MamaÍs.

PLENUM/xxxxx - The acts

Act Zero:

Prelude, pre-scene, hors scene.

Without giving background to R.W. Fassbinder's In a Year of 13 Moons, a singular scene attempts to expose our layering summarised by "the record player on stage." Where is the script? The elements are all here; philosophy on the walls, curtains obscuring daylight, a silhouetted body-builder lifting weights in slow motion, fake moustache, prostitute and man become woman. A lengthy scene, played out for audience provocation, beginning with Ingrid Caven's spinning top, a dream recounted. "Maybe I didn't dream it at all. Maybe I only heard it or read it somewhere. It doesn't matter." A tape recorder is switched on, dialogue concerning the difference between "real life" and living -- or "real music" and music while Suicide's "Frankie Teardrop" plays. Alan Vega's scream. Song lyrics. Seven minutes 40 seconds. Execution and coding.

Act One: Substance.

What there is, what we have, larger groupings, meta data flagging groups and individuals. We can input this into the system. The contained opera. Texts.

The song: "I am one, i am a neuron".

Exploration of neuronal, neural network models as triggering mechanisms for dictated software events. One neuron or many maps the room, a map of neurons, a network for raw data, for piping, as raw as possible. Neural net thing is mapped itself over participants. There must be some way for participants to be mapped over the net and re-enter the net simulated. Self entry needs to be coded, raising the issue of interface. Again, it's unclear which side of the interface we're discussing, as the social is mapped to the neural as a question of elements and the individual: group as neuron group, trigger over limit can be made unresponsive - thus reverse louder participant, drained neuron, overexerted neuron, waiting and empty neuron partnering.

The first questions of interface are raised at the level of an imagined neural trigger, an imagined dynamic which could be exposed, a tonality. Escalation is first broached by discussion and by software.

Languages and protocols are exchanged and tried on for size. Codified software switches into leakage and the social becomes heavily protocol driven; operatic speech, drawing room sensibilities, yet all under the banner of substance or vertiginous term/domain exchange/crashing which is maybe the same thing. There is no part or counter-part.

Act Two. Alice: Coded rabbit holes. Spoken word and speech synthesis

The script is interrogated and opened up to ridicule. The code is full of (rabbit) holes and sample transformations. Our pleasant neural system now accepts wild triggerings. A tea party. More roles and protocols are interchanged, voting and creation of new codes, new formats. Participants should be able to stage subevents, parallel activities and so on, autonomous units which can later present research findings and offer these up to whatever softwares for proofs and interrogation. An example would be the xxxxx commission on the poverty of software which could discuss and research findings. Others could form a working group to advance the study of pornographic code (a la Florian Cramer's work). At the same time, and as an aside, the most famous "Off with her head" could be applied to appointed moderators. An expanded software/database and querying system will be explored to input facts and speculative thoughts in relation to both Plenum and Alice.

Act Three. Jekyll and Hyde

Jekyll software modules should dominate the room. Commandline modules are patched together within a stacked and tense atmosphere which will arrive to duel. Jekyll assumes sampling or data slicing a la slow scan image-sound, piping and leaked and labelled containers. Timeslice audio laid open to inspection. As from a distance, from within the train carriage, distant objects maintain their place, whilst those closest rush past, a similar spectrum will be attempted. In addition the exterior scene can be moved with no train motion. Time slicing and distance. Multiple versions of the same software will be showcased with reference to the multiple edits and censorsnips concerning Docteur Jekyll et les Femmes (1981). Walerian Borowczyk.

The duel arises between expectant code user and bowed down programmer. A duel always of knowledge. Roles are assumed.

Leakage is implied by sniffer functionality. Promiscuity is also implied.

Act Four: H bomb simulation/audience simulation catastrophe.

Simulation is made evident through noise and spatialization. The audience is in the patch/code. Code audio is broadcast into the audience simulating space; where are the microphones recorded in the machines placed in simulated space and now heard in the room through two speakers?

Simulation at entry point/interface into the machine. The participants in our expanded software must be mapped into the computer model. Where they meet is the (ugly) interface. What the machine can know is important for its mapping. For example if the microphones are moving the machine doesn't know where they are (unless we code in very complex algorithms that would compare background noises - simulating space is easier than reading space) - unless we at the interface say so - ie. we humanly trace it - or we use some machine vision or some kind of interference pattern. Noise or waveforms suggest themselves.

War time simulations-theory and game theory circa code wall escalation could be recounted here.

Statisticians should present results (the optimisation of meat). [question remains as to who measures, how they measure and how this data is input].

Act Five: Pink light:

The Thames walk. A code graveyard. The repository is symbolically drained.