Abstract
When we move through space, we often rely on multiple senses beyond vision to perceive and act in that environment: we ``feel'' the presence of others; we build internal representations and models and recall them to navigate the environment. We also leave traces and impressions that others pick up on. The traces include echoes, heat, the displacement of objects such as furniture or footprints, air movement close to the face of another, smells such as perfume, but also the immediate sounds we make when we move and breathe. Movement is a spatial and temporal activity, and dance as a form of movement practice requires coordination of oneself in relation to others, the space and a potential score. When rehearsing dance, dancers have to relate to others often not just by looking but more often by feeling and imagining or remembering where others are based on experience and shared practice. So how can we approach technology-mediated movement and dance? Why should we explore it? How can we support spatial and temporal practice meaningfully and joyfully? In this work, we focus on sound traces; we present the design and rationale for a sound-based artefact that translates movement-based sound into layered, explorable, generative soundscapes. The work contributes a novel artefact for exploring movement-based activities with a audio-first approach, with a focus on the spatial performative experience. The paper further reflects on observations from workshops and public sharings, including how participants used repetition, stillness, environmental sound, and call-and-response to understand and improvise with the soundscape.
Abstract (translated)
URL
https://arxiv.org/abs/2608.19827
