Dear John is an experimental choreomusical work that reinterprets Cage's works while advancing his ideas of sound as sonic events and embodied choreography. In this episodic work, improvised movement unfolds to a soundscape of defamiliarized instruments, sound devices and sonicities of macro- and micro-movements. The correspondence and (in)congruence between dance movements and music's kinetic energy become the means to examine a politics of the body and sound, of music on movement. Additionally, in this ‘auditory architecture’ the quanta of time, its relations and (lack of) unity are exposed. This article then examines the intersubjective interplay of movement and music, body and sonicity; it considers the resonance of the performing body as intermaterial vibration and how this invites a sonic politics of relational possibility. The article will then also investigate the ways in which the interaction of motion and music, movement and stillness engenders experiences of time's indeterminacy and elasticity.

中文翻译：

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移动笼子：振动、声化和时间量子

亲爱的约翰是一部实验性的舞蹈音乐作品，它重新诠释了凯奇的作品，同时推进了他将声音作为声音事件和体现舞蹈的想法。在这部插曲式作品中，即兴动作展开为陌生乐器、声音设备以及宏观和微观动作的声音的音景。舞蹈动作和音乐动能之间的对应和（不）一致成为检验身体和声音、音乐对运动的政治的手段。此外，在这个“听觉架构”中，时间量、它的关系和（缺乏）统一性被暴露出来。然后，本文考察了运动与音乐、身体与声音之间的主体间相互作用；它将表演体的共振视为物质间的振动，以及这如何引发关系可能性的声音政治。