shaped exactly like that of the perfect human ear, but turned on its side, rising off the ground at the edges up to 100 feet, the performers placed directly in the center, where the canal would begin. The audience would be placed accordingly within how the cartilage is shaped, as far out from the center as the ear lobe. There would be no ceiling to the "space," just as the ear has no cover. It would be the size of, say, a high school basketball court, constructed of a soft, rolling wood, with velvet paths and seats. The full sculptural design would be identical to the ear of an especially sharp listener (i.e. Glenn Gould, etc.). Shoes would be left outside and there would be a change of clothes given - silk robes. This listening arena would be found ideally in nature, say, the forest, or in an open field, without neighboring sounds of traffic, construction, human consumption, etc. Many concert halls are now being constructed in this circular fashion, with seating surrounding the stage on all sides, which I beleive is a step in this direction - emulating the actual shape of the human ear. I do realize that the ear is meant for taking in and not putting out, but yet, thinking about it...
Which then brings me to the thoughts of this importance in having/hearing music presented in nature, surrounded by trees, water, hills, sky, animals (running away perhaps)... (Of course aside from the deep importance of just solitary experience in nature, sounding ones body, trajecting air in an expansive and extended "practice," reducing the thoughts, expanding one thought, uncontriving all sense of conceptualization, alone, minimally clothed...) Performers which can be freely approached from all sides, heard from any angle, where the listener is unfixated to an experience-point based on price, time of arrival, etc. How then the music's honesty and clarity comes across so fully, in an environment which is in fact "music" in itself, in need of nothing more. Wind through the trees, water along rocks, birds, space...