This project argues for an internal dance dialogue, an internal distribution of oneself in the form of dance and sound. “Making sense” of something as a full-bodied sensory experience implicates the body in constructing an identity. We have considered ourselves as something to “work on” and “work out” rather than to “work in” or even “live in”. A dancer shall dance to the sound of their body. Listening to their own ambisonics; of breath, shuffling and movement through glitched sonics, their performance will be a true contestation of the unexamined habits of the mind.

The objective of the project is to subvert and hack the performative media of dance in its accompaniment. It tests the processes behind dance in its choreography and improvisation. The dancer dancing to their own sound will have a true live performance that allows them to be an audience of their own performance whilst responding. In dance, there are often two schools of thought about improvisation. One considers improvisation to be an act of freeing the unconscious mind, while the other sees it as an ultimate act of consciousness. This project plays with the flux between these two theories.

The ingredients involved in the methodology of the project include:

• A dancer
• A space
• An Ambisonics Mic
• A Glitch delay music pedal
• Music software
• Headphones

The dancer’s first breath will start the performance. Picked up by the ambisonics mic it will be fed through the glitch delay music pedal, then through music software monitored back to the dancer to respond to in a constant loop. In this glitch methodology, the dancer will choose to selectively react to certain rhythms of sound but also learn to create certain rhythms of sound with their movement.