"Human Radiation" used abstract means to explore the energy of human consciousness and to illustrate the idea that thought is an entity in itself. The set included a variety of small appliances and household objects that were designed to appear like a mysterious broadcasting station, an experiment lab and a ceremony space, simultaneously. Smith was the lone performer, the writer, the artist and the director, all wrapped into one.
Smith's movement for the duration of the performance was consistently done in a slow, deliberate, robotic manner. This correlated well with the music, which was an eerie, rhythmic beat interspersed with disorderly background interference. It gave the performance a sort of surreal quality, a slight detachment from reality. Smith set off electronics by flipping switches on the floor of the stage; with the absence of shoes this was easily accomplished by using his feet. However, it was not done subtly enough for the audience to fail to take notice.
Smith completely changed his visual image at two different points in the show. He first appeared dressed in a sophisticated dark-colored suit, then while on stage removed that outfit to reveal a pair of gray coveralls underneath. Later, he stripped for the audience again changing into a black body suit with various earthy colored materials woven around it. This was an interesting and efficient way to illustrate turning points in the show.
A number of innovative things were done with the set itself. At the start of the performance the audience was greeted by a New-Age display of technology. More than 40 suspended radios, numerous speakers, record turntables and a brain in a jar, among other things, contributed to this atmosphere.
As the show moved along, doors in the floor of the stage were lifted and objects such as wooden logs, telephones and electric fans were revealed and used as part of the performance. Smith shocked the audience by setting three cordless telephones on fire with a book of matches. Objects on stage were constantly changing positions, and one object was often pulled from the depths of another, such as a tiny tape recorder from the heart of a fresh loaf of bread.
The script was poetic and repetitive. Many times key phrases were emphasized again and again in chant-like outbursts. Sometimes such language was overdone and unnecessary and could easily have been shortened considerably without losing its meaning. The entire performance lasted a little over an hour, but might have been more effective had it been closer to 30 minutes. There was a great deal of variety in what was being done with the objects on the stage, but there was a monotony in the movement and general mood of the piece.
The overall show was very in-depth, perhaps too much so. The audience had difficulty understanding the meaning behind all of the events happening on stage simply because there was so much meaning intended. Behind every action there was a reason for that action which furthered what was being illustrated by the artist, but in one sitting it was difficult to comprehend the entire message intended.