Chelsea Coon: Contact

1 min. excerpt of 9 min. 26 sec. performance. Chelsea Coon, contact (2021), Performance for video. Digital. Black and white. Sound. Courtesy of the artist. Filmed in the artist’s home studio during Covid-19 quarantine.

The following prompt (in bold) was input into OpenAI’s GPT-3 Beta Playground using the Davinci model. The text in italics was the output for the prompt completed by GPT-3.

 Instructions for a noise music performance for one person using contact microphones: 
1. Find a location where you can make a lot of noise. 
2. Make a lot of noise.
3. Make more noise.
4. Make more noise.
5. Make more noise.
6. Make more noise.
7. Make more noise.


Production date: February 14-20, 2021. Filmed: February 21, 2021. Performed by Chelsea Coon.

Initial Response / Development Notes:

A performance produced in my apartment under snap-lockdown restrictions in Melbourne, Australia. I chose to make my own decision for use of a similar, but distinctly different, Stadium “dynamic microphone.”

As I understood it, the GPT-3 instructions called for 6 phases of incrementally making more and more noise. I chose to develop a performance around the idea of 6 videos that would be stitched together. To make *more noise* over time, I decided that the volume of a chosen audio track would increase on the same computer desktop that I was recording the performance on. This sonically would layer in the video with the noises I made with my materials—significantly which were projectiling confetti and bursting balloons.


“contact” was filmed in my bed where I divided 12 party poppers and silver foil balloon letters into two separate piles. I oriented my body in the middle of these piles, with a microphone in front of my knees. I utilized “Arguing Robot Bass,” a Loop Packs sample from the application “Garage Band” as the performance track. The volume was incrementally increased across the 6 successive videos that comprise this work. 

My actions consisted of repetitious cycles in which I broke the poppers to expel confetti streamers across the bed, then I held and ripped open the letter balloons with my teeth. At the end of each phase, in the microphone I mouthed the word “boom.” These actions were repeated in 6 phases over the duration of the work.



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Posted in <a href="" rel="category tag">Embodying the Algorithm</a>, <a href="" rel="category tag">Performances</a>