For Casadh Arís, Rachel has been working with live and electro-acoustic sound and I’ve realised that the recorded sound in particular sets up a kind of architecture for the live bodies to inhabit. I say live bodies because the live musicians inhabit the space just as much as my dancing body does.
Using four speakers in the corners of the room, she is able to define the limits of the space, fill its volume with volume, and determine the density of the environment through which I move. Of course as a performer, playing violin, she will periodically enter that space too. She holds the space and participates in it.
The challenge for me, as always is how I inhabit that acoustic space and the emotional and psychological world it suggests. Or is it just a space and is it just me that makes it emotional and gives it personal resonance?