you suggested:
> Certainly the sounds of breathing,
>of clothing, of bodies contacting the floor all are aspects of the form
>that are rarely appreciated or even noticed. Lately I've become annoyed
>with dance for the camera that completely ignores the sounds of the
> dance in favor of the musical accompaniment. Seems like a museum
>focusing all the good light on the frame, rather than the picture within.
A good reminder of dance noise. contact sound. body/breathing rhythms.
it would interest me if we could share some sound files here on dtz. The
sounds of different kinds of dance, recorded with contact mike?
I recently suggested to Scott Sutherland that we might be allowed to
post images too, if they are intrinsic to a commentary.
Back to sound. Has anyone (composer?) experimented with these live
contact sounds, sampled them, transformed them into algorithms? how
would contact sound (feet screeching, thumping) translate into abstract
visuals, x-rays, visual-sonic patterns of a certain kind of movement
impact on ground, other bodies? is there an electronic caress, slide,
jump landing, what does it look like/sound like? Why is the fundamental
pulsation of the body "cleaned up" or cleared out/filtered out in edited
music tracks over dance?
I see (hear) the contact you describe as the body's intonation, physical
vibration. How does our technology connect to the resonating skin, and
if we were able to create an audio dance (for audio), how would our
digital capturing choreograph such a dance for the ear?
greetings,
Johannes Birringer
AlienNation Co.
http://www.ruf.rice.edu/~orpheus/session1.html