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problem
• Fragmented Narrative: The dance performance in MIMESIS intentionally avoids linear storytelling, making it difficult for traditional music to support the piece without overpowering or misguiding interpretation. • Disjointed Movement Language: The choreography relies on glitchy, repetitive, and fractured body movements. Standard musical timing or melody would conflict with this visual rhythm. • Need for Sonic Tension: The piece explores themes of identity, simulation, and breakdown. It required a sound world that could mirror disintegration, not resolve it. • Sensory Balance: The visuals are already dense and kinetic. The sound had to add emotional and spatial depth without overwhelming the dancer’s physical presence.
solution
• Glitch-Based Composition: The soundtrack uses glitch aesthetics - cut-up textures, digital errors, signal degradation - to echo the dancer’s fragmented language and support the overall theme of mimesis and distortion. • Asymmetrical Rhythm & Negative Space: Rather than a consistent beat or melody, the design uses unpredictable pulses, silences, and interference. This creates an environment where the dancer and sound exist in tension, not synchronization. • Layered Sonic Textures: Multiple layers of processed sound - digital static, modulated breath, low-frequency oscillations - build a dislocated acoustic space that mirrors the film’s visual disorientation. • Interactivity by Absence: Silence becomes part of the score. It opens space for physical gestures to speak, letting the sound respond to rather than dominate the choreography. • Cross-Cultural Audio Influences: Drawing from both Berlin’s experimental electronic music scene and CalArts’ interdisciplinary ethos, the soundtrack sits between club culture, performance art, and academic sound research.
MIMESIS is an audiovisual performance exploring repetition, fragmentation, and identity through movement and sound. Shot during André Wakko’s time at CalArts in 2012, the film blends glitch aesthetics, body language, and sonic distortion to question the boundaries between the real and the simulated.
The choreography, performed by Tarren Johnson, moves between control and collapse - looping gestures, interrupted rhythms, and fragmented sequences. Director Yalda Tara Afsah captures this tension with raw, intimate camera work that blurs the line between performer and observer.
Wakko’s sound design builds a fractured sonic architecture: digital noise, layered textures, and broken frequencies collide with moments of silence and breath. Influenced by his background between Berlin (UDK) and California (CalArts), the score holds both precision and chaos - reflecting the dancer’s struggle between form and undoing.
Rooted in glitch culture and performance art, MIMESIS is not a narrative—it’s a rupture. A study in echoes. A moment caught inside the loop.
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