First. Expanding listening through dispositive (microphones). Understand their possibilities and their way to relate with the captured experiences (what it’s the mic really capturing? Intersection, dialogue.)
Second. Expanded listening through the body and the voice. Another way to relate, another intersection. Listening through movement, bones, shoes, force, state of the listener.
Third. Combine both ways of listening. DPAs are really malleable, they offer an extended way of recording beyond the human scale. They are extensions, other ears; through them, I go micro-macro.
Performance. Vogelsang. Previous exploration with glass. Smashing and recording. I decided to listen through my hands. My performative research is based on creating resonance zones through materials of the space. Real-time compositions. Through the DPAs this possibility is amplified providing an entrance for a future listener (spectator (?)). I explored the limit of the mics as well.
What I found. Remanents, ruin. In the middle of an old theatre, a circle that marks the movement of life, changes, force, impulse, subtleness. To spin the circle, to create, to capture, to shape and be shaped. An infinite wheel. I also found something with this gesture and it came out (shadow).Video. Wide-open image. Close intimate sounds. Almost saturated. Post-process my own experience. Might re-do the panning. Speculation/translation. Future.