3.The field of action of a given individual depends upon distance. The sight of a person is usually that person's most far-reaching sense. He can see, thought not necessarily hear. As action comes closer, the sense of hearing is also brought into play. Finally, there is the possibility of touch and this is determined by the length of the person's arms. These factors give us a series of three radii. The first radius is quite short and, except in an enclosed environment, of little concern. The second is rather distant and dependant upon a number of external factors, such as wind direction, background noise, etc.. The final radius may be quite far, and depends solely upon the terrain.

4.The willingness of an individual to act depends upon which radius is broken. If something is close enough to touch, it is almost always close enough to interfere with. If action is going on within earshot, it will certainly be close enough to see, and if close enough, investigating closer. If only visible, but barely audible, the viewer is less likely to act simply because of the time and energy it would take to cross the intervening space.

5.This being the case, it is desirable that any action should be held as close to far radius as possible, thus being sufficient to excite curiosity, but too far to attract close scrutiny.

6.When this combined with speed, the action can be performed with little fear of interference from well-meaning passersby. It is for this reason that any guerilla performance, particularly of the type in this project, be kept as short as possible.

7.If possible, it is also desirable that the viewers be moving at the time. A person driving along is less likely to become a nuisance than some one standing and watching. The brief sight will have a psychological effect on the driver and add to the impact of the piece.

8.For these reasons, the best locations for performance will be set away from a busy road or rail-line, such as just inside the tree line of a forest area or park, where those travelling by can see what is going on, but only for an instant.

9.If we are going to be working in a location where people are going to be close at hand, then it is necessary to use incongruous juxtaposition to cause curiosity while preventing interference. It is here that the method of distressing the damsel is used not only to create a perception, but to alter the environment as well and make the percipient feel that while something clearly abnormal is going on, it is better to watch than to become involved. The action must be perceived as being creative but not dangerous. We must never forget that a captive damsel is going to attract attention. It is supposed to. Our job is to make sure that it is the right kind of attention.