types of acoustic, visual and choreographic palettes. From the sound point of view particular attention has been given to the way a sound can evolve texturally. And most sounds are developed as multi-layered cells in which their structured elements can be navigated, isolated and mixed in real-time. In other words there is a close attention to both the surface elements of sound developed, and their dimensional interiors. The software which holds the visual information allows the visuals to develop and fragment in a similar way. Visuals are chosen for their particular symbolic significance, and are married with sound and choreography, being careful to consider the way in which their development either reflects or complements the dynamism of the whole. The choreography of movements tends to be shaped by a sense of the extra-dimensional significance of any gesture executed in the suit. More often than not the movements tend to find a level of appropriateness which may be considered as symbolic, which is why we used the analogy to Asian dance earlier on. The sensation that one gets as a performer in the suit is one of existing within a multi-dimensional universe which releases strong physical projections and at the same time requires one to find an internal level of focus which is completely unlike the level or quality of concentration which is normal for dance. Because of this one is aware that the mind and the body is operating on a new Performative level. One in which the internal landscape of the performer is as vast and as complex as the perceived external depth of the work. This is largely produced by the type of synaesthesic experience of hearing movement, seeing sound, and the sense of inertia produced by the level of focus required to pick out and manipulate elements and small details within the vast multi-dimensional landscape which is itself being brought into being by ones own decisions and gestures.
Working with the Bodycoder system has forced us into a closer process of collaboration because even the simplest of artistic decisions affects and reverberates across all the various dimensions of the work. Because of this we can no longer isolate ourselves within the realms and practices of our own particular art-forms, but we are forced to take a global view of the work, and develop new methods and approaches which provide us with a more universal and dimensional vision of the work. Because of this we are aware that we are working within a new emerging art-form, and as such we are engaged in the long-term discovery, development and evaluation of its practices.