Fascinated by polyphony, I transpose forms of harmony to social relations, structures of power, perception, place, belonging, language, desire, and what it means to listen.
I start with the score.
I start with playing a fugue on the piano as a blueprint: a counterpoint of voices spilling out horizontally rather than stacked as a hierarchy.
Playing a fugue is simultaneously reading, interpreting, sensing, analysing, moving, listening, and responding to the conditions of a place and moment.
This playing maps the technological and socio-political tides through which a spectrum of voices and silences wrestle.
Layering, cinema, grammar, mapping, relations, harmony, consonance, dissonance, polyphony, mise-en-scène, audience participation, compromised perspectives, staring obliquely, cut and paste, embodied knowledge, Chinatown, "chinatown", models, temporary visas, reading together out loud, tonal and atonal languages, writing script, improvisation, karaoke, overhead projections, third space, recorded sound, the Wall of Sound, AM radio, singing a cappella, borrowed voices, counterpoint, listening-as-producing, an ethical framework, practising, rehearsing, walking through, single mothers and their daughters, Read-in, living research, virtual horizon, ground, breath,