Hannah Kosstrin

The invisible aspect of my practice/research is my critique of the Laban systems of movement notation and analysis even as I use them as research tools. I am critical of these systems because of their kinesthetic residue from their progenitors’ historical actions related to Nazism; the ways practitioners uncritically employed them during the past century…

Johannes Birringer

1. visible invisibles is it not a bad time to raise questions about the invisible people or invisible and immaterial labor? Perhaps, out of order out of sight, it’s a good time after all, and necessarily so intently looking at gender gaps and bodies of color (the “black performances on the outskirts” that Malik Gaines…

Federico Visi

When I collaborate with artificial agents to explore ways of interacting with sound through body movement, I deliberately curate the set of body motion features that are “visible” to them. I hide what I believe is not useful for my purposes, and design their perception of their environment to my own liking. However, some deep…

Jan Schacher

Expertise and track-record vs. boundary expansion and new types of knowledge The tensions between disciplines and the need to fulfil or answer reviewer’s expectations are always part of a cross-disciplinary writing project. Presenting a synthesising perspective and speaking from an experience straddling value systems is a vulnerable position, one that doesn’t confer the advantages of…

Wayne Tai Lee

My collaborators are blind to my fears. I am afraid of the data scientists who actively abandon their humanity. An algorithm that blindly optimizes for one objective can discriminate minorities for mortgages rates, spread inflammatory stories, or accidentally reveal information you kept private. Real problems are rarely solved by tackling a single objective, so why…

Irene Fernandez Ramos

Olivier Razac said that ‘the perfection of a tool of power is not measured so much by its technical refinement as by its economic adaptation. The instruments which serve authority best are those which expend the smallest amount of energy possible to produce the effects of control or domination’. The disciplinary effect of the air…

Mansi Patel and Giselle Liu

Collaborative Practices between Architecture and Movement As a collaborative duo, we will be writing this article from the ‘first stage’ perspective. Our practices are design (architectural spaces) and choreography (movement of negative space and positive space). The roots of our collaborative work lie in the interactive art form of communicating emotions. We insist that the…

Joanna Magierecka

1. Hello, welcome. I am The Hostess. Sorry to disturb you in this way, I am hosting many events, it is difficult to keep track of everything. I suppose the deadline is today… I have to use my note as well….yes, and here they are, call for provocations: What aspects of your practice/research are invisible…

Francisca Morand and Javier Jaimovich

How do we identify moments when the interactive dialogue between movement and sound in our work is innovative for both of us, and for both of our disciplines? How does “time” unfold for each collaborator at moments when the modes of production are separated within the same collaborative process? What are the new words that…

Lauren Mark

Bring Me the Nothing As a dancer turned Communication researcher, the practice and process of working from flow often goes untranslated with my Communication colleagues. They might ask how I planned a written performance piece, with the assumption that I methodically placed disparate pieces together, matching them up like a perfectly planned mosaic to arrive…

Jeff Lubow

Many aspects to software may be invisible in a performance.  Here are a few that came to mind: – Lost history:  Time spent can be rendered invisible (either to the audience, or for the artist themselves) in the process of maintaining a codebase on a project – versions offer unique and useful aspects to the…

Susan Wiesner & Rommie L. Stalnaker

We have had some aspects of our process rendered different by the rest of our collaborators. All our team members must tap into both sides of our brains, and bodies, as we acknowledge our creative practices within a research framework. We all interpret verbal instructions and visualizations on some level through visuals, sound, and physical…

Sarah Fdili Alaoui

The value system, format, constraints, langage, interests and focus of my other discipline that is not theirs. Sarah Fdili Alaoui, University Paris Sud / Paris Saclay

Will Hallett

Increasing emphasis among feminist psychoanalysts on the maternal subjectivity, a non- and in some cases prior to phallic capacity/aspect (or, I argue, identity) of subjectivity, can be read in certain contexts as the grounding of a primary passivity of psychic life: an archaic witness, or orphan-psyche, that is continuously unseen and unaddressed by society through…

CultureMoves

The EU-funded research project CultureMoves (https://culturemoves.eu) is a user-oriented project that explores the intersections between dance, education, tourism, cultural heritage and digital technologies. The project aims to develop a series of digital tools to enable new forms of touristic engagement and dance educational resources by leveraging re-use of Europeana (www.europeana.eu) content. The project stands on…

Lauren Mark

I’m struggling to toe the line between familiar terrain and new discovery. Discovery has always beckoned, like the tide receding from the shore, calling me to catch it. Why would I want to remain on the sand, beaten down into momentary solidarity by the push and pull of fleeting water which it waits to welcome,…