Art Center

It is not only the attention that is distracted; the image of the body in movement is also distracted, displaced and criss-crossed by fissures of reflection. Kleist's Marionette Theatre is a text on crises of categorisation in the relationship between (dance) praxis and theory. Balance and dis/balance in these (changing) relationships are no longer controllableand perhaps therein lie the fascination and potential of a relationship between both in motion." (Brandstetter in this volume: page) "Choreography is crisscrossed by lines of flight and perforated by unpredictable practices. What is adventured in beauty is a boundless extension of what is presentable and indefinite ways of how bodies can be presented. The aesthetical adventure, unlike so many new techniques and styles that captured dance in modernity, leads toward irregular revolutions of choreography." (Hölscher in this volume: page)

The study of 3D Tele-immersion impact on remote collaborative work represents a very interesting and challenging research topic. In this paper, we introduce the latest accomplishments of TEEVE research which merges computer science with dance choreography. This collaborative research model is ideal for creative, interdisciplinary problem solving. TEEVE offers an entirely new interface for dance choreography as a creative tool and alternative performance venue.

I examine the art labour of three Japanese women butoh artists living and working internationally. They are foreign at home and abroad: when these artists return to Japan, they are erased from the current arts scene or they are cast as outsiders in a separate category from ‘Japanese artists’; they are also compelled to keep their butoh designation in foreign places because it lends an exotic, economically viable Japanese-ness to their art labour. The artists complicate any simple outsider/resident status or national/cultural representation. They also take on an in-transit-ness, in which they are always on the move and always ‘at work’. I argue that their art-labour-under-duress amplifies their physical intensity, arising from interrelated pressures such as economic conditions and relationships with butoh and Japanese art labour practices. This art labour intensity sustains creativity and initiates a ‘stranger community’ that is a vital part of their radical art labour and survival.

Touch is a fundamental element of dance. The (time) forms and contact zones of touch are means of expression both of self-re exivity and the interaction of the dancers. Liberties and limits, creative possibilities and taboos of touch convey insights into the 'aisthesis' of the different forms of dance: into their dynamics and communicative structure, as well as into the production and regulation of affects. Touching and Being Touched assembles seventeen interdisciplinary papers focusing on the question of how forms and practices of touch are connected with the evocation of feelings. Are these feelings evoked in different ways in tango, Contact improvisation, European and Japanese contemporary dance? The contributors to this volume (dance, literature, and lm scholars as well as philosophers and neuroscientists) provide in-depth discussions of the modes of transfer between touch and being touched. Drawing on the assumptions of various theories of body, emotion, and senses, how can we interpret the processes of tactile touch and of being touched emotionally? Is there a speci c spectrum of emotions activated during these processes (within both the spectator and the dancer)? How can the relationship of movement, touch, and emotion be analyzed in relation to kinesthesia and empathy?