Nothingness in the digital Space
(2024)
author(s): Valerie Messini
published in: University of Applied Arts Vienna
Valerie Messini (Peter Weibel Research Institute for Digital Culture) chooses the phenomenon of emptiness in art as a point of departure for her contribution "Nothingness in the digital Space" and presents her artistic projects operating with different technologies to approach the phenomenon of emptiness in connection with corporeality in digital space. "1-NO1-100.000" uses dance movement to explore emptiness in virtual space, and "Deep Empty - Wide Open" uses deep learning to question the extent to which horizon lines function as mental voids.
Embodiment & Dance - The importance of movement research through verbal cues in dance improvisation
(2022)
author(s): Karin Heller-Dani
published in: Research Catalogue
Would a regular guided movement research practice could enhance the experience of free-form dance, in what ways, and why? How would such a practice change or enhance the ways people feel about their movement, their bodies, and their relation to themselves? What sort of verbal cues could be used to guide such an exploratory movement practice?
ARCHIVE | new work for movement and sound 2025
(last edited: 2025)
author(s): Reuben Esterhuizen
This exposition is in progress and its share status is: visible to all.
This exposition takes the form of an archive, a documentation of the process of conceptualising, devising, making, and rehearsing a new work for movement and sound created by myself and dancer/choreographer Lydia Swift in collaboration with the artists James Graham, Darius Paymai, Maxime Trechsel, and Georgie West. As a process-led collaboration, the piece exists as a practice developed with all of these people, and as such, a score for (re)performance does not exist. In lieu of a score, this archive aims to lay bare that process by tracing the various decisions made and iterations that the work went through to reach the version which was performed on the 27th of May 2025. It also serves to exhibit the ephemera that were used and generated through this process, as well to offer the opportunity to see early versions of the piece to get a sense of this progression. To reiterate, this is not a score. The score exists in the bodies and minds of the performers and is not intended to be suitable for restaging.
