The symbiogenic experience: towards a framework for understanding humanmachine coupling in the interactive arts

Certain dim, discomforting twinges would grow to lick at inattentive marrows within. Drumming was thought to be for the ear, for the hearer — a form of communication over distance. But years of hitting, tapping and stroking wood, bone and flesh against taut skin — feet bound with innervations and (stomp), hands quelling cold shrillness; always thrusting and flailing about. It was more than just “for the ear,” even for those who heard. Resonating cascades of muscle and sound, nourishing a sonic and visceral — almost sexual — entwining of body and world.

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