© by Quindell Orton.

SOUND RESEARCH

Unseen Partners. Invisible Terrains. Sounding Space.

“Perhaps the most important feature of auditory experience…(is) it’s capacity to…reconfigure space”. (sounding new media, Frances Dyson)
Sound and hearing provides a feeling of space and the body in relation to it. So what does it mean to take sound as a partner to the body, its ability to create other spaces through immersion, and shift them through spatialised sound, direct audiences through instructions or by simply tickling a curiosity to hear more.
Part of this research has been searching on what it would mean to create an invisible sound landscape, heard through headphones but located spatially. During an initial research as part of the Strut Seed Residency I worked with sound designer Tristen Parr and fellow choreographer Serena Chalker exploring what it would mean to try and move people and immerse them through sounds located in the space. Testing out how it is to then shift the sound landscapes, invading the silences and dominating the space so that participants search out the silent zones. 
I am continuing to search on this; what it is to compose your own sound track of disembodied sounds through a searching body, what does it mean to manipulate participants acoustically. Sound can be specific and intimate but also invasive and penetrating, how can these sounds invade the body and thus change your sense of it. 
There are a lot of topics that are in the air for me concerning permeable borders, the importance of creating a open space with offerings that participants have the agency to curate their ‘performance’ but it requires their bodily activation and questions of is the manipulation in these offerings and what does it mean to then shift the rules of the space.

This research has been in dialogue with Matthias Krauss, Tristen Parr, Serena Chalker, Sahra Huby, Anna Konjetzky, Alexandra Reichart, Pierre Tardif and Chikashi Miyama. 
Strut Seed Residency 2018
Digital Dance Lab Tanzhaus NRW