As I noted at the start of this project the original footage that I captured for this project was only intended to be a test but became an important part of the experimental process the I adopted for this project. The dancer had originally performed without any music so thew only sound that I had was that picked up by the cameras internal mic.

Listening to the sounds repeated whilst working in Isadora I became interested in incorporating these accidental sounds the way that I had the images and created a number of loops from the sounds of the dancers breathing and joints, and our communication before and after the dance.

I used a series of phasing and layering techniques that I have experimented with over the course of the year to develop a layered soundscape that mirrored the looping evolving aspect of the visuals.

After screening the the piece to a number of groups I became aware that the I wanted to add some kind of musical elements to add texture and also introduce a more harmonious, positive aspect. I had been listening to Jon Hopkins and picked up a the texture of quickly repeating notes in a number of tracks that seemed to blend into a single sound. I created a simple approximation of this using two stock synth sounds in Garageband and repeating the same notes as quickly as I could. I wanted to do do this manually rather than looping the note because I wanted the texture of the sound to contrast with the digital looping of the images and other sounds.

I layered this back over the existing vocal and distorted breathing loops to create the version of the track that was used during Isadora Live capture sessions.

During those sessions I felt that the track ended too abruptly to work as a piece that would be used on its own with the visuals so I added a swell to the end of the track that could be used with an edit of the footage captured during the Live sessions.