I'm interested in the way sound connects to other things, forming temporary alliances. Rather than seeking a primacy or purity of the auditory, I like its contingency.
My fascination with the tactility and physicality of sound is what now attracts me to working with dance. Choreographers are also working with a kind of resonance between the bodies of the audience and those of the dancers. While (probably) unable to perform their actions, on some level we “feel” them, in a neurological way. The weight and density of the dancer’s body, the breath, feet, sweat and pulse of the dancers become associated with the metallic or wooden or watery sounds, complicating both their gestures and my music. Through the laws of magnetic attraction, impulses of movement become connected to sonic impulses, creating strange overlaps and correspondences. In some ways, this completes a loop - the removal of sound from action in capture and the connection to a new action in performance - but in a way that is shifted and shifting. Dancers allow themselves to find and feel the pulse, and I find ways to adjust and respond to their gestures. These elements become linked, but tangentially. The link occurs primarily in the experiencing of the moment.
I want to recognize all listening as happening within and through a body.