Marcus: I was also thinking about something: when it's only musicians it was kind of like someone creating the indirectness and someone creating the suddenness within the whole picture. For example the electronic layer: It were some times that it was very sudden but all the time it was actually sustained. But it was this spacey sound which became indirect.
And with the others you start to create a lot of things which made the combination. I don't know if someone has another idea or picture.
Bruno: Ok so you have the silence as a sustained state or you create something which is like a layer. And than you put sudden changes in it. And than the changes lead to another layer...
When I see musicians I can react, or when I see movement...and than I try to create semiposes and sound. With musicians it's easier, because we can speak the same language. I think if everyone is doing something different. Do the people do the same thing or go in the same direction? This is my thinking in the group.
Cornelia: I guess your case is really special because you need much less of your body to play the instrument. So you think even more like a “musician”: from the sound. You see, unlike dancers or people who's target is movement, all o us musicians from this room, we start with and from the sound imagination. And than you command the movements.
Adilia: I have to laugh because when I see people doing dj'ing, they are always moving too much. It has nothing to do with the contact with the instrument. Maybe if you use an iPad...
Bruno: I think it's also something for the eyes to see.
Cornelia: I think you need to be somehow the beat. You need some external non-cerebral help, some embodiment. I think this is also a curious thing to ask Adilia: you are in CorpoReal research group, mainly dealing with embodiment of music. Do you have any colleagues doing electronic music?
Adilia: I also have colleagues doing electronic set-up. For example, interactive installation with sensors.. Even working with algorytms, ... So for them it is really the body in movement.
Bruno: Probably many people interpose different elements to the sensors and have different set-ups. But even that way, the interaction or the kind of improvisation is just the movement or the space between and the speaker and the movement, because the sound is already predefined.
The decisions are made before. So all you can do is shape the movement.
Adilia: Because than it's really a question for us: if we use the Laban system, do we think about the movement? Because actually as I did, if I use just the bow in movement, do I make the sound? So I also have to combine with how I make the sound. But maybe for you – can you really think just about the sound?
Bruno: I think...small gesture, I just move some things, but I'm always...we are always thinking in large in our minds. And the output is always a delayed thing of what you're thinking about. Because my thinking is also that way I hear the gesture and I produce the response to my intentions.
I really prefer people to listen to the music than to see me moving/dancing.
Cornelia: Yes, for us it always goes from the head to the body.
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