How do we share embodied knowledge and what are effective ways to introduce somatic experiences to non-dancers in the current era of data, disembodiment and technology obsession? These questions emerged during a collaborative research project ‘Let’s Improv it’ (Aug 2016), which focused on human abilities of understanding actions, intentions, and emotions of ourselves, and others. We explored the role, and perception, of physical and emotional touch, through an improvised movement inquiry, questioning how kinaesthetic empathy and multisensory perception allows an understanding of others through embodied knowledge. After a 5 day practice-lead investigation, we developed a 20-minute improvised somatic movement experience for non-dancers, del...
This project presents an interpretation of what a 'human installation' could be, and a theoretical f...
Through a consideration of audience experience of embodiment in contemporary dance performance, this...
Undoing Discomfort: being real/ becoming other in an embodied performance practice contextualises ne...
How do we share embodied knowledge? How do we understand the world through our bodies? How can we ef...
How do we share embodied knowledge? How do we understand the world through our bodies? How can we ef...
This research is concerned with the use of wearable technology in the process of improvising and how...
This article takes a somatic dance standpoint to investigate bodily sensorial encounters with virtua...
This essay reveals the tacit ways of knowing inherent in somatically based dance improvisation pract...
© 2017 Britany LaidlawMany scholars suggest the primary reason for our current state of socio-ecolog...
Through a consideration of audience experience of embodiment in contemporary dance performance, this...
Situated cognition seems to be one of the relevant pillars in the literature on embodied cognition: ...
Visitors interact with a blindfolded artist's body, the motions of which are tracked and translated ...
This article outlines the potential of dance improvisation practice to function as a technological i...
International audienceDesigning for kinaesthetic awareness, the perception of our body's position an...
Contact Improvisation (CI) has grown into perhaps the most influential form of contemporary dance im...
This project presents an interpretation of what a 'human installation' could be, and a theoretical f...
Through a consideration of audience experience of embodiment in contemporary dance performance, this...
Undoing Discomfort: being real/ becoming other in an embodied performance practice contextualises ne...
How do we share embodied knowledge? How do we understand the world through our bodies? How can we ef...
How do we share embodied knowledge? How do we understand the world through our bodies? How can we ef...
This research is concerned with the use of wearable technology in the process of improvising and how...
This article takes a somatic dance standpoint to investigate bodily sensorial encounters with virtua...
This essay reveals the tacit ways of knowing inherent in somatically based dance improvisation pract...
© 2017 Britany LaidlawMany scholars suggest the primary reason for our current state of socio-ecolog...
Through a consideration of audience experience of embodiment in contemporary dance performance, this...
Situated cognition seems to be one of the relevant pillars in the literature on embodied cognition: ...
Visitors interact with a blindfolded artist's body, the motions of which are tracked and translated ...
This article outlines the potential of dance improvisation practice to function as a technological i...
International audienceDesigning for kinaesthetic awareness, the perception of our body's position an...
Contact Improvisation (CI) has grown into perhaps the most influential form of contemporary dance im...
This project presents an interpretation of what a 'human installation' could be, and a theoretical f...
Through a consideration of audience experience of embodiment in contemporary dance performance, this...
Undoing Discomfort: being real/ becoming other in an embodied performance practice contextualises ne...