When tools like the stethoscope and electrocardiogram are appropriated for use beyond their intended purpose – for example in music and dance performance – how does the training of foreign users shift the framing of sound, and therefore what types of sounds from the body and apparatus come to be analysed or considered? Can we qualify the difference between a doctor and a composer listening to the heart through a stethoscope? How do the motives and methods of practitioners inform what they hear, and how they touch – to the exclusion of sensory processes beyond their frame of reference? As a choreographer and composer working with heart rate sensors, we do not seek to reveal or represent the invisible workings of the heart. Rather, in our performances and installations, the sonification and haptification of heart rhythms – along with the noise produced by the apparatus and its use – are a means to compose a context for intimate listening and touch between performers and visitors at the edges of appropriateness.

中文翻译：

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听诊器的触感：在亲密的表演中塑造情境

当听诊器和心电图等工具被用于超出其预期目的的用途时——例如在音乐和舞蹈表演中——外国用户的培训如何改变声音的框架，因此来自身体和设备的声音类型会如何变化？被分析或考虑？我们能区分医生和作曲家通过听诊器听心脏的区别吗？实践者的动机和方法如何告知他们所听到的内容以及他们如何触摸——排除超出他们参考框架的感觉过程？作为使用心率传感器的编舞和作曲家，我们并不寻求揭示或代表心脏的无形运作。相反，在我们的表演和装置中，