Do you find that the logic of slow-motion movement has a marked affect on whether a sound-directing-movement or movement-directing-sound relationship is prioritized – or, is it more the case that on an experiential level, one is finding themselves in dialogue with both modes of being?
I think the latter. And I think it’s also to do with the general field awareness and the emphasis of specific points and particular moments depending on what’s needed to complete the task in the moment. As part of this: peripheral vision, kinesthetic and haptic awareness.
Perhaps, movement is prioritized to some extent during the slow-motion. Producing sound also felt more difficult at these slower speeds.