Archive Search

  • Spectators enter an intimate space to meet face-to-face with a performer offering her body as an interface to the media environment. Performer's outfit and scenic environment are equipped with touch sensors, theremins, and multiple buttons and
  • Pollitt Jo and Nancy Mauro-Flude. Choreographic Computabilities 1 (2023): 50–57.
  • This sculpture enabled beams of light to be dynamically moved over Genesis's entire stage as well as out into the auditorium. It was constituted by six large mirrors which were all pivoted on two axes respectively and could be rotated in all
  • Event: Telematic Choreographies and the InternetInstitution: Choreographisches Zentrum NRWComment:
  • Event: Programmed: Rules, Codes, and Choreographies in Art, 1965–2018Institution: Whitney Museum of American ArtComment:
  • OHP # -
    OHP III is a light installation that investigates the poetic potential of an obsolete technological medium, the overhead projector. The additional film rolls of the projector, usually manually operated, are moved and controlled through motors and
  • Salter, Chris. Timbral Architectures, Aurality's Force. Sound and music In William Forsythe and the practice of choreography: It starts from any point, edited by Steven SpierNew York: 2011.
  • Salter, Chris. Timbral Architecture | Aurality´s Force: Music and Sound in the Choreographies of William Forsythe In William Forsythe and the Practice of Choreography, edited by Steven SpierLondon, UK: Routledge Press, 2010.
  • Robles, Claudia. Biofeedback and Choreography Performative Science and Beyond, Involving the Process in Research, Hans. H. Diebner editor, Springer Verlag. ISBN 978- 3- 211-33357-0 (2006): 146 – 147.