Basilica Hudson, NY.

I worked with the body, electronics, material and sustained listening to inhabit + question 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.