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                <text>&lt;p&gt;&lt;em&gt;South of the Slot&lt;/em&gt; was a group show that took place in San Francisco during the months of October and November in 1974. It was a show that was organized by a group of artists as a much needed forum for a particular kind of work.&lt;/p&gt;&#13;
&lt;p&gt;Organised around a loose structure, the artists that participated were asked to choose a date and time at which they would present their work. The space at 63 Bluxome Street in San Francisco was made available to them through the two month period with no stated restrictions as to how the space was to be used.&lt;/p&gt;&#13;
&lt;p&gt;The work that was presented differed widely with each individual, but in general relied on real time presentation for transferring information from artist to audience. The directness of this kind of transference sets up a field of variables very different from traditional forms of art. Each artist dealt with these variables by finding a mode which best suited the ideas inherent in the design of the presented situation. The twenty two presentations included such various modes as: video performance and live performance, projections and photo-documentation, dance and music, tableau and environmental situation. (Alpert 1975)&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;Curator(s)&lt;/strong&gt;: exhibiting artists&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;Participants&lt;/strong&gt;: Kevin Costello, Alan Scarritt, Linda Montano, 30 Motion, Paul De Marinis, Jim Pomeroy, John Gillen, Joel Glassman, Richard Alpert, Pat Ferrero, Bill Morrison, Jimmy Suzuki, Jack Ogden, Jeffrey Weiss, Jim Melchert, Irv Tipper, Simone Forti, Stephen Laub, Terry Fox, Tom Marioni, Paul Kos.&lt;/p&gt;</text>
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                <text>&lt;p&gt;&amp;nbsp;[&amp;hellip;] took place in a large empty garage in San Francisco in November 1974. In the dark room I placed two candles bent into semi-circles on the floor to form a circle. Each candle was lit at one end so as to form double flames always burning opposite each other. This was used as the timing element to establish the duration of the performance, which was approximately one hour. As the people entered the performance I gave each one&amp;nbsp; a piece of freshly baked bread from a loaf about 1 &amp;frac12; metres long made especially for this performance.&amp;nbsp; Next to the candles I placed a large cauldron-shaped aluminium bowl and iron parabolic plow disc. I continuously bowed the edges of both bowls simultaneously with two heavily rosined [sic] violin bows producing deeply resonant, reverberating sounds. As the sound waves from the plow disc, which were emanating horizontally, interfered with the sound waves from the large aluminum bowl, which were emanating vertically, a heavy beating sound was produced and gave a strong rhythmic character to the performance. (Fox 2000: 115)&lt;/p&gt;</text>
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