Through dense layering of ritualised tasks, X:NNN engenders a negotiated perceptual space between two individuals; here, limitations are materialised and dismantled. In the act of transcoding physical pain, distance and awareness is afforded; the instability of ethical peripheries disseminate at their modulating horizons.
‘expectation of a sensory event is enough to induce ownership over a fake hand’ takes as its genesis the idea of mutuality in sound-based performance practices, both between the numerous performers on stage, and between the performers and audience. In traditional sound-based performance practices, there is the formation of a relational dynamic through the processes of encoding, transmitting, and decoding cultural histories bound in physicality, semiotic/semantic motives, and the resultant sound, as perceived by the audient.
Transcription Piece II
Transcription Piece II was a solo performance experiment, which sits at the intersection of Antonia Barnett-McIntosh’s interests in composition, performance, field recordings, speech, and interview transcription. A recorded element (interviews, readings, stories, music, and field recordings) plays through speakers, which Antonia transcribed live. This work transforms the original material through the body of the composer and the transcribing machine; hesitations, mistakes, rewinds, stops and starts become embedded into the rhythm of the resulting piece.