Seattle’s most improbable art space—for years a hulking gray Greyhound bus garage, now a scarcely more attractive empty lot, next spring to be an electrical substation—is ALL RISE, the omnibus name for a series of performances and installations. This weekend’s work, Nat Evans’ The Lowest Arc, is a bit of both, in the shape of a Cageian participatory “happening.” Evans derived music, to be played from five speakers, by superimposing graphic representations of movements of the sun and moon (the title, of course, refers to the winter solstice) onto staff paper. The participation comes through music boxes (pictured) borne by visitors as they stroll about the site. The hole patterns on the paper rolls for these fanciful gizmos—whose toy-like aspect suggests another seasonal celebration—trace the dots of winter constellations as seen on star maps. Then a sixth speaker will gather and respond to these strolling sounds. The promised result: sounds as subtle and fragile as the ephemeral shifting colors of the year’s earliest sunset. (Not to mention it’ll be a welcome break from carols.) 1250 Denny Way (between Pontius and Yale), allriseseattle.org. Free. 4–5:30 p.m. Sun., Dec. 21.