LORIS emerges out of an idiosyncratic, movement-based improvisational practice with the violin/viola. After struggling with issues of impromptu self-censorship during the throes of an improvisation, I enacted a conscious shift in intention, redirecting my efforts towards action, movement, and physical gesture. Rather than striving to achieve particular sonic results, I began to work with acoustic string sound in a more oblique manner, focusing intently on new patterns of physical interaction with the instrument, and only then shaping the resulting sound.

After attempting unsuccessfully to use video to highlight the gestural and visual dimension of this practice, by training a camera on various parts of my body, I decided to redirect the camera's gaze. Rather than looking in at my body from the external, distanced perspective of the audience, a micro security camera mounted to my finger peers out from the center of the action. The final video is slowed to a snail's pace, in part distancing the result from the original source material while bringing greater focus to the nature of the movement, with its contingent sound and image.