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In considering the final performance and how to score the sound, visual and live performance elements, I am thinking about where these mediums intersect. Or, differently said: What exactly are the multi -modalities I am using, and where do they touch? Below are sketches of ideas in scoring space both horizontally and vertically, and in exploring how to make sound waves and frequency vibrations visual through my own physicality. I am also attempting to continue my research into fragmenting the body, and sketched scores through which all the elements are first complete (story/bodies/rhythms/song/images)
before they are broken into parts
(words/body parts/singular sounds/pixeled images). 
However, while this kind of score may guide the spectator towards my ideas of bodies-as-fragments-that-touch, such scores might quickly become a linear narrative, which is a kind of body itself. How can I compose a song that is nonlinear, part-ly irregular, and containing voids? Or is the question rather how can I re/tell a song(story) so that its fragmented parts emerge? How can I create a score that intersects and connects mediums and ideas when my research looks for the opposite?  Does my insistence on a continuous breaking a-part actually allow for other kinds of touch? I think I will assume for the moment, that it does.
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Spatial Scores
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Considering the theater space where the performance will take place, I thought of framing it through the speakers in all 4 corners and with the projectors on opposite walls. Integral to the set up is the mixing table where sounds from my computer and from the microphone can be mixed and played live. One small projector can also be moved during the performance. This score attempts to erase the borders between "on stage" and the "off stage", allowing me to fluidly fluctuate between being an operator and a performer. The audience would also be able to move around (if all risk assessments have been taken). 
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Scores of Levels 
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In this score I correspond the frequency level of the sound with the level of my body in space.  I experimented with this during the residency at OT301. I listened to the frequency level and, if it was low, kept my body horizontal on the ground. I moved through the levels of crawling until walking depending on the sounds I heard. I also imagined the frequncies veibrating specific organs in my body; the lower organs situated in my pelvis resonated with low frequencies, my heart and lungs with middle to high frequencies, and so on. This was a clear score to improvise and create movement with. I would like to continue this practice, but play the frequencies through speakers, exploring how much and exactly where I can actually feel the vibrations, and when I begin to imagine the touch.  
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Rhythm- and Song-based Scores
With these scores I considered how the audio elements have been composed, what they consist, and how they have become rhythm and multitrack songs.  I thought of either building up a song from its component parts during the performance, and then breaking it down into different elements. I also thought about beginning the performance with a "full song" (as a body) and breaking that up throughout the performance. This would also help determine how I record and edit the sounds; I could consider making rhythmic sections only from edited spoken words (like in Story about Touch, when the words become unrecognizable). I could consider touch as the vibrations of frequencies in the body (of performer and audience), as the recordings when body touched plant, as words that become recognizable and have meaning (that touches).