'Live Dreaming': Exploring the reorientation of neurodivergent bodies and selves via musical performance.

本提案以Schulze（2018）、Wu（2021）和Bude（2022）的工作为基础，重点关注基于表现和实践的“Live Dreaming”研究方法，以质疑梦作为一种意识表现的潜力和过程，以及作为一种物理“梦”的表现（Serres, 2008）。2019年，英国艺术委员会资助我将倾听作为一种全身现象进行研究，假设做梦和意识是具体化倾听和音乐创作中不可分割的一部分。我的研究成果最终发展为MELTA，这是一种将实验性视听组合与雕塑和可穿戴传感器融合在一起的互动表演。这种表演方法通过我对声音、联觉、过度聚焦和感官过载的感知来探索“表演梦”。我提出的以实践为基础的研究将建立在以前的工作基础上，并传达我作为一个神经发散型女性的生活经验，发展一个创造性的工作体系，包括具体化的倾听、实践实验、理论文献和定性研究。我的主要研究问题是“Live Dreaming”如何为神经分化和边缘化的身体提供一个实用的工具，通过音乐表演来探索身份和取向？“我将研究Live Dreaming作为神经分化自我和身体在疏离环境中导航的能量生成来源的潜力。”我将采用一种基于实践的方法，为神经分化和边缘化的身体创造一个实用的工具包，让他们通过音乐表演重新定位和沟通自己。研究活动将包括与神经发散性表演者的个人和小组行动深度聆听会议（Oliveros, Ione 2005）。我还将与RBC音乐家和表演者合作，以动作、声音和听觉为基础，创作一系列主题探索性的公共演出。这些研究将研究触觉记忆和感觉定向在做梦和表现之间的相似之处。一个子研究链将探索数据、软件和材料作为边缘化人群的身体增强手段和自治和生存机制（Haraway, 2016, Marshall, 2016 Nijs 2017）。我将探索表演中材料的“重要物质性”（Cox, 2006, Bennett, 2010），因为它们可能使神经发散体能够导航和交流他们的经验。这项工作的成果将体现在一个带有书面评论的得分作品的集合中。我将与Integra实验室和波士顿大学的STEAMhouse合作制作可穿戴乐器，利用人类和环境数据，用身体制作音乐。结果将在RBC社区进行测试，并在演出和研讨会中记录。这项研究将有助于跨学科的文献研究，包括音乐，技术，运动和神经科学。这将对神经分化和边缘化的音乐家产生积极影响，并为来自各种背景的表演者提供现场音乐制作的关键切入点。至关重要的是，它将为实践和作曲创造可公开访问的工具，并将有助于音乐部门对神经分化的对话和认识，神经分化是影响音乐制作获取和体验的因素。这项工作有可能提高来自非传统音乐背景的女音乐家突破性实践的知名度，并鼓励学术和艺术界的女性进一步发展自己的作品。

This proposal focuses on a performance and practice-based research methodology of 'Live Dreaming', building on the work of Schulze (2018), Wu (2021) and Bude (2022) to question the potential and process of dreaming as a kind of performance in consciousness, and performance as a type of physical 'dream'(Serres, 2008).In 2019, Arts Council England funded me to research listening as whole-body phenomenon, hypothesising that dreaming and consciousness are an inextricable part of embodied listening and music-making. My research findings culminated in developing MELTA, an interactive performance fusing experimental audio-visual composition with sculptures and wearable sensors. This performance methodology explored the 'performance dream' through my perceptions of sound, synaesthesia, hyperfocus and sensory overload. My proposed practice-based research will build upon previous work and communicate my lived experience as a neurodivergent woman, developing a body of creative work that engages with embodied listening, practical experiments, theoretical literature and qualitative research.My principal research question is 'How can 'Live Dreaming' provide a practical tool for neurodivergent and marginalised bodies to explore identities and orientation through musical performance?'I will examine the potential for Live Dreaming as a generative source of power for neurodivergent selves and bodies to navigate alienating environments. I will use a practice-based approach to create a practical toolkit for neurodivergent and marginalised bodies to reorientate and communicate themselves through musical performance. Research activity will include individual and group action Deep Listening sessions (Oliveros, Ione 2005) with neurodivergent performers. I will also create a series of thematic exploratory public performances in collaboration with RBC musicians and performers using movement, voice and listening as the basis for scored works. These will investigate haptic memory and sensory orientation as parallels between dreaming and performance.A sub research strand will explore data, software, and materials as a means of body augmentation and mechanism for autonomy and survival for marginalised people (Haraway, 2016, Marshall, 2016 Nijs 2017 ). I will explore the 'vital materiality' of materials in performance (Cox, 2006, Bennett, 2010) insofar as they might enable neurodivergent bodies to navigate and communicate their experiences. Outcomes of this work will be manifested in a collection of scored pieces with written commentary. I will fabricate wearable instruments in collaboration with Integra Lab and STEAMhouse at BCU to make music with the body, using human and environmental data. Outcomes will be tested with the RBC community and documented in performances and workshops. This research will contribute to cross-disciplinary literature enquiry into inclusive music, technology, movement, and neuroscience. This will positively impact uponneurodivergent and marginalised musicians and provide a critical entry point into live music-making for performers from all backgrounds. Crucially, it will create publicly accessible tools for practice and composition and will contribute to music sector dialogue and awareness around neurodivergence as a factor affecting access and experiences of music-making. The work has potential to increase the visibility of ground-breaking practice by female musicians from non-traditional musical backgrounds and encourage women in academic and artistic communities to further their own works.