watching the turquoise sky and the white clouds. As the coldness of the evening came on, we put on our sweaters and coats and pulled the sleeping bags over us. We still lay on the hillside, talking in the darkness, feeling our friendship and warmth and watching the crescent moon rising through the dark trees.

 

 

From 11 p.m. until morning in a warm space with a kitchen

  and beddings; maximum, 40 people.

Low light, films of a fireplace and candle flame, a silent

  television.

Greeting of audience members as they arrive and settle their

  beds.

Serving of chamomile tea and warm milk with nutmeg.

Distribution of "pillow notes" program booklet.

Taking of sound-camera "photos," a trompe d'oreille.

Through pillows equipped with speakers about the room:

  crickets, old popular songs with sleep/dream references,

  Ainu shaman chant, Bach/Goldberg Variations, Malaysian

  Temier dream songs, beating sine tones.

Once audience is settled:

  a lecture about the purpose and plan of the event; general

  information on scientific facts of sleep, dreams, and the

  effects of sounds; history of collective sleep rituals of ancient

  and current peoples; dream in religion and art; all the while,

  slowly stripping from a formal suit to nightshirt and once

  brushing the teeth while talking.

Performance of Dali's short nap with spoon.

Performance of "ghost cartoon"; tape of surreptitiously

  recorded conversations; tape of Tibetan bells while recording

  each individual's voice message for auto-suggestive

  playback during sleep.

Darkness, gradually

Performance of "spirits" for piano/electronics.

"Taps" in slowing time on flute.

Tape of ocean surf until audience is asleep.

Quiet through the night with intermittent sound effects:

  footsteps, rain, a car driving away, sighs, heartbeat,

  applause, a telephone dialing, laughter, a clock ticking,

  gurgling stream, baby's coo, cat's purr, wind, etc.

 

272