Copy-make is a demonstration video about the physicality of sound and proposes new methodologies of working relationships between composer and performers in an open and visually centred collaborative approach. You can read further about this project here in an upcoming paper in Leonardo Music Journal, Volume 30, 2020.
This installation came about in a workshop where the premise was to explore notions of perception and music, musical preconditions, ‘music without sound’, and ‘composition beyond music’. My response was to make visible the invisible world of music through a display of its gestural processes. This allowed for a transference of a diverse array of parameters involving; rotation, closing, expanding, roughening, smoothing, demarcation, recursion, inversion, punctuation, dynamic change, velocity, and duration.
Sound and movement are recorded on a glass surface to be used as a multi-screen video score for musicians to use with an instrument or sounding object. Text, numbers and symbols are written over videos containing gestural movements – a technique called digital annotation that has been used in the field of dance and anthropology. The emphasis is on the line-semantics of the performers movements. A gestural matrix allows for multiple points of focus for the performer to reiterate, interpret and retrace actions within a given frame (outlined here using yellow tape). This project was intended to be sound-based, but there is scope for it to be explored within a choreographical context. The video theorises potential uses of this way of working that could have multiple performance outcomes. It is a platform for experimentation and for realising a fixed work, and is open to anyone who wants to discover its possible uses.