NOTES FOR SCORING A SONATA OF HUMAN MOVEMENTS

Seyðisfjörður ICELAND FEBRUARY 8TH 2016

 

RECEPTION :: input into system (cognizant / corporeal : sensory definition)

How does the receiver to take the incoming information?

*Attention technique

mind/body split

 

INTERPRETATION / INTERFERENCE :: comprehension / disruption (of organism)

How does the receiver understand the incoming information?

*Intuition technique

computation

 

RECIPROCATION :: (appropriate response : thought/feeling)

How does the receiver respond to the incoming information (make outgoing information)?

*Intention technique

will/reflex

 

DIRECTIONS (PREEMPTIVE RULES)

FOR MUSICIAN PERFORMERS (LIVE) OR MUSIC PRODUCTION (RECORDED) :

Articulate the useful considerations of the sonic range & musical technique for the purpose of the conversation-conversion between musician & dancer.

• instrument-specific limitations to technique: semiotic pulsations, affective tonal construction, textural miasma immersion (complex compilations)

• audio-spectrum limitations to effect: towards an audio spectrum dialect

• psychological/affective limitations to expression

> redefine freedom in the music: differentiate from jazz & other improvisation genres. These sounds are based on rules not expression...??? What's the difference?

* How can content be translated from text (based on direct experience of life) into a form intuitive comprehensible without intimidation?

 

FOR DANCERS ON STAGE :

Articulate the parameters for physical interaction, mental interception, corporeal play.

• body-specific limitations to movement: what is safe & what is dangerous

> what is communication & what is feeling

• dancer-specific limitations: amplify or decrease tropes to form/break consistency

> in relation to what can be derived from audio content

• "compression" for incoming data (audio or visual)

> complex input into simplified output

• image relation: the mind & the bodily effect/affect

> image maintain/aroused through movement

> image produced/synthesized through interpretation of sound

> image-combine shift of movement + sound presented together

* How can translation occur through the body without recourse to other senses?

 

FOR RECORDING (CAMERA) :

FOR WHAT IS/NOT MUSIC, MOVEMENT, DIRECTION

Determine what should or should not be recorded. Oscillate the frame to isolate the subject or expand the field of visual inquiry into a broader context.

Invisible Camera:

• isolate musician/dancer in front of backdrop: prepare for macro context

• isolate elements of musician/dancer: prepare for micro context

• focus relationship upon specific forms of making

> music/movement in relation with various objects

Activated Camera:

• camera given to dancer to incorporate into movement

> movements seen through dancers limbs: to be in the dynamic flow

• camera-as-sensor, controlled by process of music/dance

* How can the capturing of a dance-event be articulated in relation to the sound-event, text-event, and life-event which precedes it? How can the video be captured to serve the conduxion/contextualization-event which follows it?

 

NOTATION (POST-EVENT SCORE)

MUSIC: Not to be able to recreate the music, rather to capture some facet of it's spontaneous production & amplify this state into other realms of consideration. Not just to translate sonic events into visual events (no synesthesia), but to offer additive/subtractive impressions of the music-event: to expand potential relationships to previously under utilized aspects or to hone focus upon specific elements within the production that would otherwise be lost. Specific focus on the audible qualities of sound processes (not the movements of music making).

• Input sourced from text: text>sound score for musicians

• Output oriented towards psychic/psychological movements: sound>movement score produced for dancers

 

DANCE: Not to literally translate the movements of the body into specific sounds, words, images, or feelings, but to focus upon the body as a conduit to other processes, as a site of process activation & transferal.

• Input sourced from psychic/psychology of sound: sound>movement score for dancer

• Output oriented towards an ecology of experience: node of reception. Translated into two second-order texts: video score for stage & conduxion score for meta-opera

 

VIDEO: Moving-image acting as second level text, critical voice which correlates music to movement, also image to ecology, subject body to object mind.

• Input sourced from distillation of corporeal movement: dance>cinema score for video editing technique

• Output oriented towards theory of tactile vision: eye-mind node amplification

 

CONDUXION (PROTO-EVENT CYCLICAL QUEING)

DIRECTIONS FOR ALCHEMICAL TRANSMUTATION:

The conductor-as-body participates in a live spontaneous dance with clear directions to interpret & broadcast meta-level information back down to the lower rungs of the cosmological caste system, ie: the voices.

• follows a dynamic video-score composed of reductive color/form compositions

• score has it's own static notational method which must be understood, rehearsed, & performed by the human conductor in response to the dynamic processes