| Summary: | This article discusses the Embodied Generative Music (EGM) project carried out at the Institute of Electronic Music and Acoustics IEM in Austria. In investigating a new interface that combines motion capture and sound processing software with movement improvisation and performance, I focus on dancers’ learning processes of dwelling in the virtual sonic environment. Applying phenomenology and its concepts, I describe how dancers explore reversibility of sound and movement to shape this connection in an artistically expressive manner. The article proposes that dancers build bodily knowledge through both the sonic environment and their own passive and active, intuitive and deliberate, movement choices. While dwelling in a digital environment changes dancers’ habitual manners of behaving, it opens up to them new kinds of kinaesthetic opportunities of intimacy and pleasure in motion. The findings from this research reveal the importance of bodily interaction with virtual environments in developing new movement-based interfaces.
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