Basilica Hudson, NY.

Working with the body, electronics, material and sustained listening , this performance questions how sound is shaped through endurance, repetition, and constraint. Three mumulaks, equipped with wireless lavalier microphones attached directly to their bodies, functioned as live synthesizers; each movement, point of contact, and shift in weight fed a sensitive electronic patch. The performance was punctuated by an abrupt distortion of a basketball game buzzer, after which the performers slowly entered the space, moving through darkness and silence in a prolonged state of fight, freeze, and flight. Drawing on Min Tanaka’s Body Weather, they held free-throw stances and replicated the gestures of American basketball players within an endless, infinite game of passing without shooting (goal~less).

A Procedural Memory score illuminated the floor where the mumulaks begin to pass a basketball. While the ball circulated between bodies: contact, friction, and the performers’ feet modulated tone and latency through the patch, producing unstable shifts in timbre and temporality. A large video screen then activated the space, casting an abstracted temporal field of counting ~ numbers accumulating, resetting, and looping ~ registering deaths of men, women, and children in Palestine. Low-frequency bass drones, sounds of shattered taiko-like echos, and feedback accumulated and distorted as mumulaks dribbled across plastic material underneath them, arranged in the form of a Catholic cross.

The performance invoked and bound bodily motion, signal, image, space & embodied memory into a single durational listening condition.