Prior work / work for adaptation during this project: 'An Absurdist Archive Of Isolation: a full body workout radio play'
3 minute extract from 'An Absurdist Archive Of Isolation: a full body workout radio play'. From 13.27min to 16.27min of a 26min work
Extracts from web based Graphic Transcript of 'An Absurdist Archive Of isolation: a full body workout radio play'
About: 'An Absurdist Archive Of Isolation: a full body work-out radio play'
This first-person performance/radio play is a genre-blurring 26-minute trip offering a deep dive into our relationship with time and the freedom of isolation.
The piece unfolds and transforms your domestic environment through music, text and your movement, turning it into the setting of a multisensory experience.
The narrator guides you through a sensory choreographic journey, plunging into contemporary storytelling and podcast wormholes while soaring past an eclectic mix of dramatic song, techno, musique concrète, raggacore, field recordings / soundwalks, indie pop and ambient music.
There will be time to move with fury, fall into the softness of cushions, and collapse into the folds of time. It is all as you choose.
An Absurdist Archive of Isolation: a full body workout radio play is a work to listen to and a work to read, both to do.
Presented to date:
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The Lowry (#LoveLowry, UK)
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The Place & Chisenhale Dance’s ‘How Do We Tune Into Sensation?’ festival (UK)
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Modern Body Laboratory (NL)
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Rewire international electronic music festival on-line edition (NL)
2021 Promotional Video
"It captured this whole experience of quarantine and isolation really interestingly. It's about focusing on what is directly around you ..."
"...unique from anything I've done before"
"I felt energised after...I would have loved to do this with other people in a public space as a performance!"
Audience responses to'An Absurdist Archive Of Isolation' 2021
“They Gather...has the potential to encapsulate global politics and humanity's empathy in intimate and bespoke site activations, in theatre performances and community engagement programs. The work places people at its core...”
Kate Usher, Festival Director, Supercell Festival Of Contemporary Dance
Find out more about 'They Gather' that 'An Absurdist Archive' is a part of here: https://www.projectauske.com/they-gather
GALLERY OF SELECTED & RELEVANT PRIOR WORK BY CREATIVE TEAM MEMBERS
CREATIVE TEAM BIOGRAPHIES
BRIDGET FISKE
BRIDGET'S BIOGRAPHY Bridget is a multifaceted Dance & Choreographic Artist with a 25-year international portfolio portfolio of creative, engagement, producing and self-organisation work includes: Since 2012, Choreographic, Movement and Rehearsal Director and International Researcher with Belarus Free Theatre, including on the New York Times listed 'Best Theatre of 2017' and 'Off West End' award winning production 'Burning Doors' with Pussy Riot’s Maria Alokhyna, 'Trustees' (Malthouse and Melbourne International Festival), 'Counting Sheep: Staging A Revolution' (VAULT Festival London 2019 headline production), 'Trash Cuisine' (winner 'Total Impact Award' at the Edinburgh Fringe Festival in 2013, assigned by the Italian Cultural Institute), 'Red Forest' and more touring the UK, Europe, North America and Australia. Choreographer and Performer on/in, 'Iron Butterflies’, a Ukrainian hybrid documentary Directed by Roman Liubyi and Produced by Babylon'13 and Trimafilm, about the downing of flight MH17. World Premiere Sundance World Documentary Competition 2023, European Premiere Berlin International Film Festival Panorama Program 2023, Winner RIGHTS NOW! Main Prize at Docudays 2023 (UA), and screening at festivals around the world. Associate Director, Curator, and Maker on ‘Sufi In The City’, a contemporary interdisciplinary project gathering influence from Sufi artistic forms, led by Artistic Director Sarah Sayeed. Outcomes presented to date at New Art Exchange, Whitworth Gallery and Performance Philosophies and Sufism symposium University of Surrey. Co-creator with Ukrainian Film Artist Roman Liubyi on 'The Correspondents', a moving image research project, produced by Babylon'13 (UA) and Project Auske (UK), and supported by the European Union under the House of Europe. Co-Artistic Director on the UK/Pakistan collaboration project ‘On The Hour: Dance Kahanyan’, with Wahab Shah supported through The British Council's ‘New Perspectives’ project that investigates and celebrates what dance is and means for various individuals and communities in both urban and rural areas of Pakistan and the UK in 2022 with a focus on young people, and women dancing, Movement Director and Director on research and development of 'The Bell Curves', a new play by writer Keisha Thompson. Bridget has also received commissions from: the EU consortium BeSpectACTive! for the project 'YES Move. NO Move. (Moved?)’ collaborating with refugee, asylum seeking, erased and Roma individuals (Creative Europe funded), Illuminating York for 'The Ice, the Land and the Sea' (FISKE & CROFTS), moves - International Festival of Movement of Screen and the Watching Dance Project for 'Red Rain' (including presentation in Liverpool Biennial), Moving Dance Forward (Dance Manchester, MDI, Contact, The Lowry, University of Salford, Unity Theatre), University of Salford, and TURN Prize (Dance Manchester, hAb, greenroom for The GEF House Experiment). Bridget has worked on a range of youth projects as both Choreographer and Lead Artist including: St Martins Youth Arts ‘The Word’ (AUS), ‘Stellarium’ a major youth dance project for Manchester European City of Science, ‘STRIDE’ a Greater Manchester young men’s dance project (Company Chameleon & Dance Manchester), Contact Youth Company ('Baby Fever’), ‘Before The Pass’ for Rugby League Cares, an intergenerational flashmob at Manchester Art Gallery for Manchester International Women's Festival, ‘Walking The Warp Manchester’ with textile artist Anne Wilson at Whitworth Art Gallery, and more. As a self-organising, collaborating and engaged artist, Bridget has presented work at venues, initiatives and festivals that includes: The Lowry, 'Dance Sampled' (by The Movement - a Sadler’s Wells, Birmingham Hippodrome & Lowry partnership), The Future (a Lowry & Rambert partnership), The Place & Chisenhale Dance, Rewire International Music Festival, Modern Body Laboratory, Supercell Festival of Contemporary Dance, Urban Moves International Dance Festival, Mintfest, Manchester Day, Teatro La Fenice, MediaCityUK and Bridgewater Hall with the BBC Philharmonic Orchestra, Queensland Arts Gallery, and more. As a performer and collaborator Bridget has worked with: Buzz Dance Theatre (company dancer performing works by Paige Gordon, Carol Wellman Kelly and Felicity Bott), Joseph Lau (including in the TURN Prize winning work 'Abandoned Things), Cheryl Stock, Helen Sky & Sarah Rubidge on 'Accented Body' (Brisbane International Festival), imitating the dog (touring cast to Cena Brasil Interncional), Louise Deleur, Tarcisio Teatini-Climaco, Kristen Bell, Xanthe Beesely, Wendy Wallace, and Rosetta Cook. Bridget has undertaken roles in advocacy, arts development, producing, curation, fundraising, project management, coordination and arts administration including with: Contact, Phluxus2 Dance Collective, Manchester Dance Consortium (Manchester Choreolab 2017), North West Dance Artist Led for Artists Network and Dance Consortia North West, Vanhulle Dance Theatre (Board Member), Dance Manchester, Rio Rhythmics Latin Dance Academy, Director/Producer Cheryl Stock on 'Accented Body', and Ausdance Queensland. Bridget also has an extensive portfolio in teaching and mentoring in community, education, prevocational training, and professional contexts, with: Bangarra Dance Theatre, Dancenorth Australia, Expressions Dance Company (now Australian Dance Collective), Ludus Dance Company, Opera Queensland, Phluxus2, Zen Zen Zo Physical Theatre, Manchester Camerata, The Place (Summer House, and Centre for Advanced Training), HWY Festival La Boite Theatre Company, The Aboriginal Centre for Performing Arts, Roehampton University, Queensland University of Technology, University of Salford, University of Central Lancashire, The Lowry Centre for Advanced Training, MAD Dance House, and more. Training: Bachelor of Arts (Dance) at Queensland University of Technology Bachelor of Arts (Honours) at Queensland University of Technology 2020-21: ‘Core Skills in Coaching for Advisors, Mentors, and Teachers’ with Guildhall. Bridget is currently working towards accreditation with the European Mentoring and Coaching Council. Various years: Arts Awards (Explore, Bronze, and Silver Advisor). First Aid at Work (Emergency and Senior courses). Behaviour Management. Safeguarding.
JOSEPH LAU
JOSEPH'S BIOGRAPHY Joseph is an independent artist creating contemporary physical, movement and choreographic work, as well as working in interdisciplinary and collaborative ways. Joseph also has a history in commercial finance and value adding. In making work, Joseph is interested in the political, social justice, value constructs and paradigms, the relevance and impact of work and the visceral. Joseph’s creative process traverses research across: personal and embodied histories, geopolitical histories, economic theories and events, score making, responsiveness and image construction. Joseph’s choreographic work has previously been realised through self-organisation and commissions. Much of Joseph’s work has occurred in public or non-traditional performance spaces. Selected works and commissions include: ‘Viva... ’ (‘Dance Channels’ EU commission presented at festivals in Spain, Italy and in the UK), ‘Deeper Than All Roses’ (FascinatE multimedia project between BBC, Technicolour, University of Salford, and EU partners), being an inaugural Moving Dance Forward Associate (Dance Manchester and MDI in partnership with the Unity Theatre, Contact, The Lowry and University of Salford), University of Salford, the 2010 TURN Prize work ‘Abandoned Things’, works as part of the new movement and dance collective Out of the Blue Productions in partnership with the BBC Philharmonic Orchestra and eu-art-network (presented at MediaCityUK, Teatro La Fenice, Bridgewater Hall and Austrian Cultural Forum), ATOM Choreographic Series #3 (Bulgaria), and the solo work ‘The Age Of Ledger’ (a dystopian work exploring the social and ethical consequences caused by a market based globalised economy and their effects on the psychology, behaviour and attitudes of individuals presented at venues and festivals in the UK and Australia). Joseph is a Co-Creator/ Co-Choreographer/ Co-producer of ‘They Gather’, an independent international multi-modal project creating gatherings of people, action, music, sound and dance in public, festival, cultural, digital and personal spaces. ‘They Gather’ has been programmed to date by Supercell Festival of Contemporary Dance, The Lowry (#LoveLowry digital programme), The Place and Chisenhale Dance’s digital festival ‘How Do We Tune Into Sensation’, Rewire international music festival (NL), and Modern Body Laboratory (NL). Joseph has a history of performance working with imitating the dog (‘Zero Hour’), Boris Charmatz (in Manchester International Festival), Roman Liubyi and Babylon’13 (in ‘Iron Butterflies’ a hybrid documentary about the downing of flight MH17), Opera Queensland (‘Pearl Fishers’ and Graeme Murphy’s ‘Turandot’), Buzz Dance Theatre (company dancer touring works and delivering workshops in metro, regional and remote Australia), Dancenorth Australia, Willi Dorner (‘Bodies In Urban Spaces’), Slunglow (‘They Only Come at Night’), Barking Gecko (‘Hidden Dragons’ - including Australian and internationally touring), Bridget Fiske (‘Inner Terra’, ‘Never The Foxes’, Because of Gravity’, ‘YES Move. NO Move. (Moved?)’), and more. Joseph has an extensive history facilitating in education, community and professional training contexts. Since 2011 Joseph has been a sessional lecturer at University of Salford. Joseph has also worked on acclaimed grassroots youth dance projects such as STRIDE - a dance project for young men in Greater Manchester realised via a partnership between Company Chameleon and Dance Manchester, amongst many other projects and engagements. After completing a Bachelor of Commerce and qualifying as a Chartered Accountant (Australia & New Zealand), Joseph undertook a Bachelor of Arts (Dance) at Queensland University of Technology. This dual knowledge supports Joseph to also take on roles in arts and cultural leadership, predominantly spearheading artist-led initiatives. Roles include: current roles with hAb (Advisory Committee Member) and Manchester Dance Consortium (Strategic Group Member), and previous roles with Company Chameleon (Board Member), Ausdance Queensland (Treasurer), Critical Mass - Brisbane artist led initiative (Committee Member), and Expressions Dance Company (Treasurer - now Australian Dance Collective). Joseph is also the UK Producer of ‘The Correspondents’ (a partnership project with Ukrainian film NGO Babylon’13 supported by the European Union under the House of Europe). Joseph is currently undertaking development in coaching and mentoring including having completed a 'Core Skills in Coaching & Mentoring' course with Guildhall. Joseph identifies as being born a migrant: born in Singapore of Malaysian citizenship to Chinese Malaysian parents, Joseph migrated to Papua New Guinea and Australia in his youth and then as an adult with a 15 year career in Australia found his way to the UK.
STELIOS MANOUSAKIS
STELIOS' BIOGRAPHY Stelios Manousakis (1980 – GR/NL) is a Cretan-born, Netherlands-based artist exploring relationships between time, space, body, system, and sound. His practice lies in the convergence of art, philosophy, science and engineering; it extends from performances, to environments and interactive installations, to compositions, fixed media pieces, and film music. Stelios’ work is particularly concerned with the invisible and the ephemeral, and with shaping sensation, perception and experience in time. Listening is exposed as a key interface for understanding the world – being here and now – and as a medium for targeting the deeper strata of the psyche and the brain. Visceral, yet cerebral and research-based, his works aim to communicate through raw sensory experience while being complex and multilayered. They are often designed as emergent (eco)systems or organisms, unearthing vibrant immersive worlds through reinventions of models from complexity science, cybernetics, biology, and game theory. They most often involve software that he develops, and merge algorithmic finesse with the immediacy of audience participation, or the expressiveness of improvisation. Many of his works involve some type of feedback process – audio-based, algorithmic, between systems, machines and/or humans. Over the last dozen years, he has been exploring the impacts, side-effects and hidden properties of communication infrastructure, with a particular focus on wireless transmission. Stelios’ work has been shown in 35 countries and 5 continents in varied festivals, performance venues, centers, museums, galleries, film houses, underground spaces and public spaces, such as ZKM Karlsruhe, dOCUMENTA, Museum Reina Sofia, London National Gallery, The Place, International Documentary Film Festival Amsterdam, Rewire festival, Audio Art festival, November Music, Athens Digital Arts Festival, IEM Graz, International Computer Music Conference and New interfaces for Musical Expression. His compositions have received international awards from Gaudeamus, the European Conference of Promoters for New Music, and Cittá de Udine. Besides his solo work, he has co-founded several music ensembles and multi-/inter-media groups – such as They Gather, Computer Aided Breathing, Center no Distractor, SelectInput and more. Together with duo partner Stephanie Pan, he is the co-founding co-director and co-curator (as well as technical director) of the intermedial Modern Body Festival and Modulus Foundation (Stichting Modulus). Stelios also frequently collaborates with other artists as a maker or in a supportive or advisory role. He has extensive experience working as an independent advisor and researcher, software and hardware designer/developer, music producer and sound engineer, technical producer for other artists and initiatives internationally. Recent clients include Rewire festival, Cinekid festival, Genetic Choir, Wolfsbloem, Paul Devens, Jeanette Groenendaal, Emile Hermans, Stephanie Pan, Gustavo H. Serpa and Selva De Mar. He has also been a jury member for several international conferences and art institutions, such as International Computer Music Conference, Sound and Music Computing, and other. Stelios studied music and linguistics in Greece (BA from the National University of Athens, GR), Sonology in the Netherlands (MMus from the Institute for Sonology at the Royal Conservatorium The Hague, NL), and holds a PhD in Digital Arts and Experimental Media from the University of Washington (DXARTS, Seattle, US). As an educator, he has created and taught graduate and post-graduate courses at the University of Washington (Seattle, US) and ArtEZ (Arnhem, NL), as well as seminars and workshops in universities and art centers in the US, UK, the Netherlands, Australia, Spain, Germany, and Austria.
STEPHANIE PAN
STEPHANIE'S BIOGRAPHY Stephanie Pan is a voice artist, composer, interdisciplinary maker, performer and curator currently based in The Hague, the Netherlands. At the root of her work is the notion of pure communication; finding a form of contact with the audience which is stripped of social expectations and distractions, that speaks beyond the conventional and social limitations and constructs of language. A mutating combination of theater/performance art/experimental music/improvisation/controlled chaos/pop music/classical music, her work is visceral, passionate and intense, and often explores the limits of the body and voice. She has performed throughout the US and Europe, and has presented both solo and collaborative work in venues and festivals as varied as CTM Berlin, Sziget Festival, Rewire Festival, Young Vic Theatre London, La MaMa Theater NYC, BBC, IDFA, Dutch National Opera, Beursschouwburg Brussel, Stedelijk Museum Amsterdam, and Kunstmuseum Den Haag. She has collaborated regularly with Belarus Free Theatre, filmmaker Jeanette Groenendaal, Ensemble Klang and Rosa Ensemble, among others. Together with her duo partner Stelios Manousakis, she has co-founded groups such as Computer Aided Breathing, a trio for voice, organ and live electronics devoted to live improvisation, and Center no Distractor, a duo for taiko and live electronics. Additionally, they co-founded and co-curate the inter-media platform Modern Body Festival in The Hague. Ms. Pan received her Masters in Theatre from DasArts: Advanced Studies in the Performing Arts (AHK), and holds a BA from UC Berkeley in Music and Applied Mathematics, and a First Phase Diploma, with distinction, in Classical Singing from The Royal Conservatory, The Hague.
MORE ABOUT OUR PARTNERS
Stichthing Modulus
Project Strategic Producing & Creative Partner
https://modulusfoundation.org/about/
"Stichting Modulus creates innovative, participatory, immersive and embodied experiences that engage, challenge, and inspire. Our work explores what it means to (co)exist in 21st-century society and emphasizes art’s vital role in reshaping perspectives, fostering connections, and driving positive personal and societal change. Our goal is to create transformative experiences that resonate with our public long after, moving them viscerally, emotionally and mentally. We produce distinctive, adventurous, high-quality interdisciplinary projects using a bold and hybrid approach, deliberately avoiding specialization in any single discipline. Instead, we operate at the intersections where music, dance, theater, performance, hybrid arts, participatory and interactive arts collide to produce new worlds, forms and experiences. Our projects often integrate art, science, philosophy and cutting-edge technologies with a critical and creative eye, using these tools to question their societal impact and shape emergent futures. Through our work, we build bridges between disciplines, audiences, communities, and cultural spheres, creating spaces for reflection, connection, and collaboration. We are committed to investing in the future and offering alternative perspectives. Deeply embedded in the Dutch scene, our identity is decidedly “glocal”—rooted locally but globally connected—nurturing relationships with diverse organisations and publics."
Cinekid Media Lab
Project Programming & Professional Development Partner
https://cinekid.nl/en/festival/over-cinekid-festival/medialab
"Enter the MediaLab and go on an adventure packed with brand-new tech like AI, VR, and AR. Learn new skills at the workshops, play the latest games, and create your very own digital art. In the MediaLab, children can experiment with innovative technologies such as augmented reality and artificial intelligence. They can participate in workshops where they can create their own digital stories and works of art. They can also play the latest and coolest games and discover various forms of interactive art. There is the MiniLab especially for the youngest, where they can become acquainted with digital creativity in a playful way."
Open Amare / Amare
Project Residency & Programming Partner
https://www.amare.nl/en/pQZ6PFl/our-house/open-amare
Open Amare: "There’s always something to do and experience in Amare. Our public spaces form a stage for the creative energy of the whole of The Hague. Open Amare is different every day and free of charge."
Amare: "Amare unites and inspires people through music and dance from all cultures...At Amare, people can pause for a moment, give in to wonder, and connect with the city. We are at the heart of the city and also wish to form the heart of society. Through our activities we contribute to the city’s societal challenges such as loneliness, segregation, sustainability and healthy living."
Kaatsbaan Festival
Project Programming Partner
"The mission of Kaatsbaan is to offer an extraordinary environment for cultural innovation and excellence by providing artists at any stage of their careers with creative residencies at state-of-the-art facilities, and presenting audiences and communities with annual outdoor festivals, educational programs, and seasonal events...Founded in 1990 with an initial focus on dance programming that included performances and residencies, Kaatsbaan has offered unique programming discoveries with every visit over the past 20 years. The organization’s dedication to historic preservation and environmental conservation has protected its vast open spaces, undeveloped hay fields, woodlands, and magnificent scenic views of the famed Hudson Valley and Catskill Mountains."
Lowry Centre for Advanced Training
Project CYP Expert Group Member & Audience Testing Partner
https://thelowry.com/pQm30sl/lowry-centre-for-advanced-training
"The Lowry CAT Programme, part of The Lowry’s Learning & Engagement Team and part of a wider National CAT scheme, currently supports seventy talented young dancers to access world class dance training, aiming to progress onto full time training and subsequent careers in dance. We aim to develop confident technical dancers with strong artistic voices. Through our outreach and recruitment work we engage with approximately a further thousand young people across the breadth of the North West region."
'The Great Solar Storm'
An immersive interactive adventure for young time travellers
CREATIVE COPY FOR CINEKID MEDIALAB
One extraordinary night in 2025 a violet solar flare crackled across our atmosphere - the kind that comes only once every 10,000 years. After this Great Solar Storm, people started noticing something extraordinary across Amsterdam: In certain unassuming locations - a park bench, a canal bridge, a family's kitchen, a child’s bedroom - strange ripples in time have appeared. These portals are invisible to the naked eye, but if you have the right radio receiver you can hear sounds from other times and places: the boundaries between past, present and future have become permeable! At Cinekid, we’ve found out that these portals cluster most densely in our MediaLab exhibition. Armed with treasure maps and magical handheld radios, children embark on a movement-driven scavenger hunt to tune into the portals scattered across the festival. They explore the space searching for transmissions from different eras - encountering primordial oceans, medieval Amsterdam, a ’90’s dance party their parents might be at, a moon colony, and more.
The work uses radio and its strange physics as a magical device to open time-traveling portals. This isn't the passive listening of old-timey radio plays: it’s a participatory, embodied, world-building experience, where kids become time travellers, moving, listening, dancing, exploring with friends or forging their own path.
After the end of their experience, they are encouraged to contribute their own artefacts to a growing time capsule that records explorer’s experiences and journeys during The Great Solar Storm. The piece draws inspiration from magic realism's treatment of extraordinary events in ordinary settings, embraces retro-futurism's fascination with past visions of the future, and mixes in a tinge of playful absurdity.
MOTIVATION
Digital narratives are fluent in video games, VR, and AI. But analog radio? It might as well be alchemy or an alien technology! Beyond creating a fun experience that activates young visitors’ imagination and bodies, with this work we want to subtly challenge the idea that progress is linear. Our new techs feel shinier but are not by definition better - perhaps they are just different. What wondrous experiences can we create by reimagining
old tech that has long lost its sheen? What if our future actually belongs to ‘outdated’ tech - like radio, maps, knitting - that can survive rare catastrophic events like solar storms, which can make our digital tech inoperable? Can we find fun ways to preserve this older knowledge, and spark curiosity in younger generations to rediscover and imagine new uses for past technologies?
Furthermore, we want to propose alternatives to our vision-dominated digital culture by creating an immersive experience that requires no screens and no computers. We also propose that, in a festival environment filled with digital interfaces, analog tech can feel more magical precisely because of its unfamiliarity. The imperfections and weird physics of radio - the physicality of tuning by moving closer to a transmitter and changing sound while dancing, the way signal fades, static - become features which enable a different kind of discovery and exploration.
Finally, we want to encourage kids to engage with their bodies in creative and unusual ways - e.g. imagining how they dance in the low gravity of a moon colony, being an ancient fish that uses its tail to swim, etc. Moving and dancing becomes a way to not only participate in the story, but to also physically remember, discover or imagine different ways of being, creating an embodied connection across various eras that complements the auditory time travel of the radios.
The piece will have a non-linear structure to enable kids to create their own unique experience. Exploration can be social, with groups of kids teaming together, or solitary, with individual explorers forging personal paths.
'Architectural Choreographies: A guerrilla audio tour in semi-public spaces'
Rediscovering Houses of Culture as Immersive Experiential Landscapes
A modular, participatory, multidisciplinary audio tour for cultural spaces with up to 10 distinct 3 minute tracks/scenes and site-specific visual interventions.
Experienced by visitors via their smartphones and headphones, ‘A Concept Album of Architectural Choreographies: A guerrilla audio tour in semi-public spaces’ (working title), will be a new participatory work that transforms large cultural buildings (museums, galleries, and performance venues with semi-public spaces) into interactive environments of multisensory immersion.
Nodding to Henri Lefebvre’s Rhythmanalysis and to relational art, the work will point a magnifying lens on the daily choreographies that emerge in these spaces. By focusing on architectural spaces - particularly the transitory and in-between spaces often overlooked - and how people move through them, the project will guide participants to interact with these environments in fresh ways, fostering a stronger sense of ownership and agency.
The work will consist of: a) several audio tracks composed of music, narrative, and an ‘action script’ for the listener; b) site-specific visual markers (e.g. images, video, knit objects, QR codes, floor markings) carefully distributed around the building. In this manner, the work will create stories that enhance visitors' realities, gently guiding their gaze, path, and actions, and enriching their experience of these buildings.
The text will involve reflective texts on how we perceive, move and experience, short movement scores, moments of wonder, strange fictions, poetic and philosophical passages. The sound will flow between art-pop songs, electronic music, narrated text, ambient music and soundscapes.
This new work will result in an immersive participatory experience that playfully animates cultural spaces.The work will have a modular structure to enable visitors to experience it as a whole, or bit by bit when they have a few minutes to spare as they wait for a show, for a friend, for a tram, for a class.