In the Round
(Cyclically Active & Dormant)

I. Distributions

These artifacts fluctuate between active and dormant states, and assume multiple mixed states.

In the dormant state the artifacts are at the peak of potential as a stockpile of stealth objects at rest

Though components are distributed throughout space in any number of configurations, they are in no way directly interconnected and make no allusion to any configuration of the active state.   These implements are currently spread across an array of industrial-grade roadie carts on large casters.   The carts are 2.5 feet in width and range from 5 to 8 feet in length.   When fully loaded, the carts are just over 7 feet tall and cannot be dead-lifted by four large men.   These carts are contained within isolated, segmented spaces--currently packed densely within two 20-foot shipping containers and multiple rooms within a 3000-square-foot former meatpacking plant.

In the active state the artifacts assume arena-rock configurations in focused space for an instant.

To maximize distributive properties across the active state, elements should be assembled into full entities, yet subdivided in discrete spaces simultaneously.   The isolation of one such entity in this revitalized phase may signal or sufficiently represent the expectation for enactment of the entire arena within isolated space.    

Additional light, haze, and audible effects may be applied peripherally and are the only elements not at rest in the active state.   Active state forms to be distributed throughout segments space include:

The mixed state consists of stadium artifacts in transition between active and dormant states.

The mixed state can take multiple forms as it may be constituted via movement of components in an effort to assemble, disassemble, or circulate forms.   Note: Though the forms are being acted upon in some way, the mixed state is not to be confused with the active state.   Often, this state is recognized by the great deal of energy that must be applied.   Though there is certainly no limit to the form of this distribution, historical indicators of this energy application have included usage of large trucks with lift-gates, circulation of large strappin' men (a.k.a. roadies), gas usage, and payments made for work performed.   Any effort to itemize, test, or partially assemble may be included in the mixed state.

These artifacts were circulated and composed in the active state at the central base of large stadiums internationally during the mid-1990's A.D.   Documentation exists of these forms in the active state, and may be found posted on the internet (see image #1).   Though the documentation shows these forms in consistent configurations, lighting and position of peripheral characters vary.   Though few images exist of assembly or disassembly of forms (the mixed state), methodology for the assembly is in no way discernable from these photographs.

Though more detailed schematics may exist, only a couple of drafts have been located available, ranging from precisely rendered to badly drawn.   Labels on the schematics give an indication of the overall dimensions, and break the stage down into sections A,B,C, D, parts 1-24.   There is no way to deduce any clear method of assembly from these drawings.

Following the touring period, the materials were relocated to a series of four 40-foot shipping containers using large trucks, two forklifts, and 10 to 20 strappin' men.   Individual pieces were itemized via documentary photographs taken by individuals having no firsthand knowledge of the assembly of these forms.  

This photo-documentation is incomplete and yields little decipherable use (see image #3).

Limited descriptions of artifact function have been transcribed as a result of brief telephone conversations with a former technical advisor having detailed knowledge of these forms in their dormant, active, and mixed states.  

The artifacts were acquired with great difficulty.  

Negotiations regarding the fate of these materials took place over the course of six months.   All vague commitments were abandoned without a word as the stockpile was suddenly to be scrapped and sold for the value of its aluminum.   A subset of these artifacts underwent 6 to 8 hours of unannounced disassembly whereby the affected objects were reduced from the dormant state to a much simpler elemental state.   Upon immediate intervention, three days were allotted to remove the entire collection of artifacts from the storage containers and haul them offsite.

The immediacy of this development greatly complicated rescue operations, as the critical search for shipping implements were compounded by a concurrent need for storage/work space.

An initial attempt to retrieve the objects involved the delivery of a 40-foot storage container at the base of the hill immediately facing the fully-loaded storage containers.   The plan was to shift the contents from one container to the next and haul the loaded container offsite.   However, as no trucking company could remove a fully loaded container from its current steep and cramped position, this plan was abandoned.

Two days later, the container was relocated to a nearby lot, in position for a second attempt (see image #2).   This was to involve a shifting of contents across several hundred yards from one container to the next.   However, this plan was also abandoned due to a sudden timely development--the lease on a storage/work space had been secured--a derelict meat packing plant with a large parking lot.   Unfortunately the sharp turn at its alleyway entrance was far too tight for passage of a 40-foot container.   The container was sold on Craigslist.

The third and final attempt:   Two empty 20-foot containers were delivered to the parking lot of the new studio.   Four 24-foot trucks with hydraulic lift gates were loaded with materials by very large men.   The trucks were driven to the studio en masse and unloaded one at a time, narrowly clearing the alleyway turn.  

The two new containers were packed full.   The remaining truckloads were to be loaded into the meat packing plant.   As the roadie carts surpassed the height of the studio entrance by a half-foot, the top of the doorway was removed with a Saws-all, an angle grinder, and a blowtorch.   Following this modification and a massive cleanup of the interior, the materials were loaded into isolated walk-in freezers distributed throughout the space.

The circular stage in its active state is 48 feet in diameter.   The largest room in the studio is 19 x 24 feet.   Any physical assembly process is limited to the partial configuration of mixed-state forms.   The collective unmanageability of these objects in the studio allows for only certain tangible gauges of "progress" ranging from the re-cataloging to the mere manhandling of discrete artifacts.   As documentation of this process bears striking resemblance to previously acquired photo-inventories, the activity surrounding this reiteration of labeling tropes becomes central as the artifacts as subject (and even the tropes themselves) disappear.  

Furthermore, a perceived familiarity with the formal construction of these artifacts in the active state is belied by simple iconic photo-representations standing in as a model endpoint.   To this deficit, a sort of reverse engineering occurs whereby a conjecture of active mid-states may be approached from either pole simultaneously to arrive at stand-ins for the active or dormant forms in the mixed state.   As such, these heuristics centered on recognizable form may serve to obfuscate the states of distribution in question (i.e. via generation of a stealth object in the active state).  

Should this be the case, these arena artifacts, though enormous, may serve as their own tour smokescreen as they realign across complex distributions worldwide to provide a glimpse of entertainment provision occurring, devoid of focal content.