Jules Rawlinson (Performer), Franziska Schroeder (Performer), Dara Etefaghi (Performer)

Research output: Non-textual formPerformance


The work derives from the notion of breath, breathlessness and restriction. Starting with the breathing sounds of the saxophonist - at first highly spare, subtle breath sounds that get pushed through the saxophone, exposing the resonances of the instrument and its materials - the saxophonist’s materials become the basis for the visual artist who uses these subtle sounds to inform and drive his response, tracing the gestures of the performer’s breath. Live processing of the breath sounds allows us to enhance, as well as to counter the performative materials through filtering, dispersal and accumulation.

The saxophonist, using circular breathing techniques, continues to employ her breath in order to work herself towards physical exhaustion, which in turn serves as a trigger for the visual and sonic manipulations of the other artists. Realtime signal processing extends and augments the ecosystem of saxophonist, saxophone and the concert hall. Additional contractions, dilations and expansions occur inside of physical models of pipes and valves, exploring notions of slippage and seepage which both bridge and feedback into the saxophonist’s gestures.
Original languageEnglish
Media of outputOnline
Publication statusPublished - 14 Jan 2017
EventConcurrent#2: New configurations for improvising - Reid Hall, Edinburgh, United Kingdom
Duration: 13 Jan 201714 Jan 2017


  • Audiovision, Audiovisual, performance practice, live performance, graphic score, composition


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