Frances Dyson (Ph.D.) was a CR+D researcher in residence in 2004. She primarily focused her work on the 9 Evenings: Theatre and Engineering fonds and the collection of documents published by Experiments in Art and Technology (E.A.T.). In this publication, Dyson analyzes the discourse on art and technology and the social utopias surrounding E.A.T. projects between 1966 and 1972. Ms. Dyson also examines the aspect of sound in the performances of John Cage, Alex Hay and David Tudor during 9 Evenings: Theatre and Engineering, held in 1966.
Link

It has been said that, in the performance of Variations VII, John Cage gave up more control than he had ever done in any other composition.

The setting was perfect for Cage. Not only did the 69th Regiment Armory produce a six-second reverberation that ensured the entire space would have a cathedral-like ambience (a physical attribute that Tudor and Cage explored, using the building itself as an instrument) but sound was made present in ways that went far beyond performance or aesthetics. With Cage's piece, the Armory was transformed into a pan-aural centre that took in sounds from all over and processed them. Billy Klüver stated that Cage:

"wanted sounds from all over the city — and, if possible, all over the world. We had 15 telephone lines to restaurants, an aviary, a dog hospital, a street, etc. He also made use of radio receivers covering all the wavelengths. [He] also wanted to pick up sounds from outer space [...] [and] suggested picking up and amplifying the multitude of sounds around us that we cannot normally hear."
Link