The door, the chair the bed and the stairs

Full description

How can musics embodied with strong cultural references (in this case, Adelusian) by employed a-culturally? How can audience attention, arousal and emotion be successfully triggered based on editing music's relationship to image? How can playing with the dematerialisation and reanimation of image with location sound in dance film be used to control a perception of "the meaningful"? How can sound be used to control the perception of stylisation - the moving the line of registration between the "artistic" and "the real"? These were the questions which informed my approach to the music and sound design. I was commissioned as sound designer and musical advisor - to edit and adjust the musical material to more meaningfully connect to the image, as well as to manage the use of location sound designed for specific effect. Much of my time was spent experimenting with the dematerialisation of the vision - b removing location sound - either completely, or replacing it with approaches to sound design which were designed to operate on the audience at a more metaphoric level. As a result, the work was tightened into a much more stylised and professional piece, with only a couple of points where this was violated (into "reality) for specific effect. Details: Commissioned work Background: A new work in the "Curiosities" series - an installation work and dance film examining diversity and variation within the human form. SIgnificance: chosen as the sound designer and muscal advisor for the premiere work as part of a retrospective of Sue Healey's dance film for the Moving Image Centre, Auckland. Healey is a prestigious New Zealand choreographer, working extensively with the MARCS Auditory labratories' postgraduate research on perception, cognition and movement (Univertsity of Western Sydney).