A Choreography of a Spatial Sonic Disembodiment Development of the Three Dimensional Data Interpreting Methodology (3DIM)
Stan Wijnans · 2009
In dance performance sound still tends to be seen as mainly a ‘time-rhythm’ medium with space as an unobserved, and therefore, insignificant element of the sound. However, experiments with the spatial and thus choreographic elements of sound, have been undertaken by numerous instrumentalists and composers in the past (such as Stockhausen’s Gruppen 1955-57, Cage’s Williams Mix 1952, Boulez’s Repons 1981). This paper investigates a mapping methodology that emphasizes the sonic spatiality in an interactive choreography by describing the creation of a range of ChoreoSonic experiments that succeeds from both spatial perspectives. In an earlier paper I introduced the conceptual ideas behind an interactive transformation of the spatiality of dance movements into a real time 3-D spatial sound composition (Wijnans 2009). In order to further discuss the interdisciplinary possibilities, this article expands upon the development of the Three Dimensional Data Interpreting Methodology (3DIM) as the mapping procedure used in the creative process. Several spatial observations referring to movement theorist Laban (1966) and psycho-acoustic scientist Blauert (1997a&b) are reviewed and integrated in the 3DIM development. The case studies described are realised with the application of two different wireless Radio Frequency/Ultrasonic dynamic positioning systems and the visual programming environment Max/MSP/Jitter. These tracking systems measure both the trajectory of the whole body in space plus the movements of the individual body parts as the starting point for a real-time generation of a spatio-temporal musical form. It is outlined that 3DIM makes it possible to design a virtual spatial sound body outside the dancing body: ‘a Choreography of a Spatial Sonic Disembodiment’.