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– Praxis (Impro- vising. Paradoxes of the Unpredictable. Art – Media – Practice) (2010, ed. with H.-F. Bormann, A. Matzke), Notationen und choreographisches Denken (Nota- tions and Choreographic Thinking) (2010, ed. with F. Hofmann, K. Maar), Thea- ter ohne Fluchtpunkt. Das Erbe Adolphe Appias: Szenographie und Choreogra- phie im zeitgenössischen Theater (Theatre without Vanishing Point. The Herit- age of Adolphe Appias: Scenography and Choreography in Contemporary Thea- tre) (2010, ed. with B. Wiens). CRAMER, FRANZ ANTON Lecturer at the Inter-University Centre for

the Tanztheater. Reports. Television coverage. Advance notices. Volume after volume. Format after format. Picture after picture. Since the early 1970s. The volumes exist as open reel video formats, as U-matic, Hi8, VHS, Digibeta or as digital files. They are filmic attempts to document the present – to historicise it. To document the genesis and performances of a choreography by Pina Bausch, in order not to forget. Rehearsals, premieres, revivals, guest appearances. Media and dance history in one case with 102 volumes. All of them fragments of an artistic

contradictions of choreographic practice as a field of continuous reciprocity between formality and socio-political topicality, between everyday experience and aesthetic appearance, between immediate af- fective involvement and the more distant formation of discourse. At the same time, this refers to the attempts of the relatively young institutionalization of an academic discipline to emancipate itself and to an environment where e.g. work- ing biographies tend to become more and more complex. Consequently it is even less sufficient to locate and respond to dance

Dance Theory as a Practice of Critique GABRIELE KLEIN Since the 1990s, the notion of dance and/or choreographic practice1 as critical practice has played a major role in dance studies. Pirkko Husemann’s description of artistic methods of working as critical practice (Husemann 2009), Susan Fos- ter’s theorem of embodied politics i.e. the politics of embodiment (Foster 1996; 2002), Randy Martin’s theory of mobilisation (Martin 1998) or André Lepecki’s topos of kinaesthetic politics (Lepecki 2006) are all prime examples of this ten- dency. All of these

videos. As such, Xen and »Xen« construct a new body for the musician in several senses and without compromising the artist’s authenticity (quite the contrary). The album’s music follows suit in using electronics to augment acoustic timbres to suggest a choreography of transcendent bodies and gestures, though hardly one of conventional beauty and elegance. Arca released something of a second ›coming-out album‹ with »Arca« in 2018, this time taking the extra steps of leading with his relatively unprocessed voice and appearing in person in three music videos and

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intervention by presenting information in a form that was usable in only one way. Participants would have to be sufficiently privileged in the culture of the digital to reinterpret the information back. Of course, this digital-person choreography was designed in by humans in the first place and carries assump- tions about the kinds of uses and users. Arduino and other maker intermediaries require some basic knowledge of coding, and the better the resources for coding the more things open up. The combination of sensors and e-health kits did provide an extensive range of

section of the chapter, I return to reflections about memory as a site of movement, which I touched upon in the introduction, by interlacing creative and academic literature with concrete examples of perforMemory. (For biographical information on the dancers-choreographers, please refer to chapter four, where a note precedes each interview.) The pieces, although they are fundamentally diverse in terms of choreographic vocabulary, movement techniques, dramaturgic construction, aesthetics and themes, share several features. First, they all relate more or less explicitly

.a. Klein/Barthel/Wagner 2011b) einen größer werdenden Stellenwert ein und die Unterscheidung zwischen „Choreografie als festgelegte tänzerische Kompositi- on“ und „Improvisation als spontane Komposition“ (Lampert 2007: 31) ist als 3 | Der Einsatz von Improvisation in der Aufführung wird unterschiedlich bezeichnet. Klein verwendet den Begrif f der Echtzeit-Komposition, Lampert spricht in Bezug auf die Arbeiten von William Forsythe von „Echt-Zeit-Choreographie“ sowie „Real Time Choreo- graphie“ (Lampert 2007: 158), Evert von „real time choreography“ (Evert 2002

, it creates idiosyncratic practices that resists codification and therefore systemati- sation by the same mechanisms. The individualized value systems created by such practices she in turn also contrasts with the publicness and thus pervasiveness of ballet and its measurement of quality, arguing that “in ballet the ultimate point of choreographic reference is always the externally generated norms or ideals of the ballet style – what [Laurence] Louppe calls an ‘absolute reference [1997:31]’” (Gard- ner 2008, 58). The early work of Yvonne Rainer, with works like Trio

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– Interactions between Choreography, Dance and New Media Technologies SCOTT DELAHUNTA 225 Body, Space, Movement and Interactive Technologies in the Performance-Installation Passage MARTIN KUSCH 237 Virtuoso Audiovisual Real-Time Performance ANDREAS WEIXLER, SE-LIEN CHUANG 245 Interactivity in Stage Performances KLAUS OBERMAIER 257 Musical Interfaces for Beginners WOLFGANG KOPPER, OLIVER WITTCHOW 265 INTERACTIVE ART PRACTICE Four Media Archaeological Artworks GEBHARD SENGMÜLLER 273 It would have been Fantastic – Between Perfection and Failure ULF LANGHEINRICH 283