WIP: Nostalgia Ideas, part deux

Why
have we had to invent Eden, to live submerged in the nostalgia of a
lost paradise, to make up utopias, propose a future for ourselves? -Julio Cortazar

Location

• Performance in a public space. Musicians could be stationed at specific locations or, if able, could be in motion. Their route could be personally chosen, plotted or determined by a set of rules (e.g. turn 90-degrees to your left when a dog crosses your path). This could also be done in a private space, but a certain amount of randomness is lost in a controlled environment.
• Work is divided into N parts. Each part is performed in a different location. This could be adapted to small spaces (e.g. the hallway, the bathroom, the stage) or to almost any larger scale, although in different cities/states/countries could prove extremely difficult to stage (or experience in totality by any one person).
• Video or stills projection of locations with great cultural importance (e.g. Berlin Wall, Ground Zero, Kent State, Perl Harbor, etc.) could be either viewed on a screen on stage or in various locations in the performance space.
• Use of amplification and signal processing could be used to affect the perception of location (e.g. reverb to create a sense of distance, monitors located about the performance space).
  

Experience and Identity Narrative

• Setting could recreate a "common" event for which people are nostalgic (e.g. Thanksgiving dinner, a birthday party).
• Audience participation: a set of cues could be devised from common actions (e.g. someone coughs, turns to their left, etc.).
• Audience members could be queried for songs that evoke nostalgia. Performers could then improvise renditions or play in the styles of.
• A game of "Memory" could be devised as part of the piece a la Zorn's game pieces