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

该提案的重点是基于表演和实践的“活梦”研究方法，以Schulze（2018），Wu（2021）和Bude（2022）的工作为基础，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。2019年，英国艺术理事会资助我研究听力作为全身现象，假设做梦和意识是身体听觉和音乐创作不可分割的一部分。我的研究成果最终开发了MELTA，这是一种将实验性视听作品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、通感、超聚焦和感官超负荷的感知来探索“表演梦”。我所提出的基于实践的研究将建立在以前的工作和沟通我的生活经验作为一个神经分歧的女人，开发一个身体的创造性工作，参与体现倾听，实践实验，理论文献和定性研究。我的主要研究问题是“如何可以'生活梦想'提供一个实用的工具，神经分歧和边缘化的机构，通过音乐表演探索身份和方向？“我将研究生活梦想作为神经分歧自我和身体在疏远环境中导航的生成力量来源的潜力。我将使用基于实践的方法来创建一个实用的工具包，让神经发散和边缘化的身体通过音乐表演重新定位和沟通。研究活动将包括与神经分歧表演者的个人和团体行动深度倾听会议（Oliveros，Ione 2005）。我还将与RBC音乐家和表演者合作，利用运动，声音和听觉作为评分作品的基础，创作一系列主题探索性的公开表演。这些研究将探讨触觉记忆和感觉定向作为梦想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主和生存机制（Haraway，2016，马歇尔，2016 Nijs 2017）。我将探讨材料在表演中的“重要物质性”（考克斯，2006;班尼特，2010），因为它们可能使神经分歧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系列的评分作品与书面评论。我将与BCU的Integra Lab和STEAMhouse合作制造可穿戴乐器，利用人类和环境数据用身体制作音乐。结果将与RBC社区进行测试，并记录在表演和研讨会中。这项研究将有助于对包容性音乐，技术，运动和神经科学的跨学科文献调查。这将对神经分歧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，它将为实践和创作创造公开可用的工具，并将有助于音乐部门围绕神经分歧进行对话和认识，这是影响音乐制作的访问和体验的一个因素。这项工作有可能提高来自非传统音乐背景的女音乐家开创性实践的知名度，并鼓励学术界和艺术界的妇女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.