ICoDaCo_Delete_Account

Items

• poem
  A poem describing a moment from our performance
• Lightplan for onboarding
  On- and offboarding is an important element of our future performance. In this concept, we explore what kind of atmosphere light can create that will prepare the audience to immerse themselves in our performance.
• Source of light
  What kind of light, where does the light come from, what is the motivation of the light source, what if the researcher themselves is the light. I proposed an exercise this week: using somatic movement language, some participants wore headlamps with their eyes closed, while others searched with their eyes open. In this way, the light was mainly composed by the source's own bodily movements. On this day, I also recognized the excitement of the relationship between natural light and artificial light, how they complement each other, how they build each other up, and how they can extinguish each other.
• Text and light
  This is a photo. This photo is a photo of a video. This video is a performance. This performance was performed with light and text. This text is extreme. This light is extreme too. Performer, light and text are triple extreme together. Thats why they like each other so much. They are friends.
• Are they agents or spies?_12
  This is a photo. This photo is a photo of a video. This video is too long. This video is a video of two performers that are captured in a moment before their health goes rapidly down. This moment is precious. This moment is ephemeral. We are different people now.
• Light
  A still from a study of light and movement.
• Dark Duet
  A duet between Gwyn Emberton and Anna Seymour exploring what versions of communication and trust and risk taking can emerge in the dark.
• It’s dark
  Study - audio description Entering, alone.  It’s dark. There is an aperture of light in the corner and a sign to the left of the room that has the words, “no despair”. dark,  very, very dark, profiles  three bodies. holding, tapping tap, tap Back on back, surrendering, trusting Corridors of light A cross of light, becomes a cradle for where the sounds of tussling and giggling come from  The shuffling of bodies,  Voices,  Entangled,  Dragging and vibrating The light flickers and shakes The light is disappearing,  Darkness revealing different versions of ourselves, permission for expression, permission for freedom The tones of the room feel pressured, inescapable,  Palms press together, grab and clasp,  eyes to eyes,  silhouettes,  shadows,  Hands,  violent, The rest of the room drops away,  The release, with no more light,  Darkness invoking ways of trust, ways to be together, ways to take risks Bringing us closer to our senses and sensations.  The sensation of privacy and liberation.  It’s the opposite of office lights, designed to be efficient, alert, ready to work, in full view The audience sits in the darkness, embracing the softness and mystery that comes with the darkness. We receive fragments of bodies, landscapes, the walls around the room light up, showing the black walls. As humans we are drawn to light and movement.
• Lights Iteration Process
  A description of our lighting setup and creative process for a performance iteration, focusing on the use of overhead grid lights, floor-based LED sources, programmable LED tubes, and manual plug-in activation to create texture, contrast, and movement. The audio reflects on how light functions both as illumination and as a visible installation element that interacts with performer movement.
• Latvian collective contribution- Illuminating peat
  This is Latvian collective’s contribution for week 13 about light and text, describing how we are planning to use light and text in the opening scene of our future performance where peat becomes the main character. Context: A few words about peat. One of the most frequent ecological catastrophes in the Baltic region is peat fires — slow, subterranean smouldering that can spread across many hectares for months. These fires are almost impossible to extinguish by human means. They gradually destroy a valuable local resource that takes thousands of years to form, releasing massive amounts of carbon, damaging ecosystems, and suffocating life above the ground.
• Shadow my love
  Duet of two bodies exploring shadow and movement. Light is a dramaturg itself. Selecting the moment worth showing and experiencing
• Light in Light
  Light in Light is an exploration of light as both material and metaphor. Light revealing light. Light moving inside light. Something that feels simple, but is impossible to fully define. In this work, light is never stable. It travels, reflects, fractures, and returns. Through mirrors held by the dancer, light becomes multiplied — constantly shifting its direction, its intensity, its meaning. What we see is never one image, but many moments happening at the same time. The mirror does not only reflect the dancer; it reflects the space, the audience, the movement, and the world around it. Light passes through bodies, surfaces, and gaps, creating unexpected geometries and temporary realities. Nothing stays fixed. Everything is always becoming something else. The phrase Light in Light carries many references. For each person, it can mean something different — perception, connection, presence, time, energy. Yet these interpretations often overlap, because light is something we all exist within. It surrounds us, shapes us, and moves through us, whether we notice it or not. In the video, the dancer becomes both carrier and transformer of light. The body does not control the light, nor does the light dominate the body — they coexist, influencing each other moment by moment. What emerges is a fragile balance between visibility and disappearance, clarity and distortion. Light in Light invites the viewer to notice how everything around us is already in motion, already connected, already reflecting something else. It asks us not to search for a single meaning, but to stay inside the experience — where light meets light, and something new briefly appears.
• Light
  Collective contribution - lights in performance Light is used together with broken mirrors to cast reflections onto the dancers’ bodies. The mirrors create multiple shifting points of focus, while constant movement allows geometrical shapes to continuously form and dissolve as light and mirror surfaces interact. This scene functions as the opening of the performance. As the audience enters the space, some spectators are given broken mirrors and invited to reflect light onto the performers. This action establishes an immediate and physical connection between audience and dancers, making the spectators active contributors to the visual composition. At a certain moment, one dancer steps forward—possibly using a microphone—and speaks a single sentence: “What is between us?” This intervention introduces an additional conceptual layer, encouraging the audience to reconsider their use of the mirrors and their relationship to the performers. Simultaneously, the dancers deepen their interaction with one another, exploring the idea of what exists in the space between bodies. Color is also integrated into the lighting design, allowing shifts in tone and atmosphere throughout the scene. Light becomes a central dynamic force within the performance, while the spoken text operates on a more conceptual level. The use of mirrors as props adds an entirely new spatial and perceptual dimension. Together, light, text, and mirrors operate as interconnected elements, forming a cohesive and unified performative language.
• The Netherlands - collective work
  This is the description of the light set up for our collective work as well as the beginning scene
• Light, skin and hair
  This piece is and exercise in wich we are playing with light in a device created specifically for this purpose. The light that falls directly on their skin generates different sensory atmospheres. Time and sound have been distorted to accompany the journey.
• Projecting Light
  Identify three problematic zones in your body. Direct your light toward them. Let them move you. Dance with them. Trace their shapes.
• Enlighten Yourself
  As part of an exercise, I choose three songs by SOPHIE, embodied then as if I was a light projector and draw this floorplan
• This is the End of the World
  This is our collective contribution for Tier 13, where we describe in detail a moment of our future show.
• This is the End of the World
  Audio description of our impression of a significant scene in our imagined upcoming collective work.
• Mitochondria – the powerhouse of the cell. They pr
  Mitochondria are membrane-bound organelles found in most eukaryotic cells. They are often called the powerhouse of the cell because they produce energy in the form of ATP through a process called cellular respiration. Mitochondria also play an important role in regulating cell metabolism, controlling cell death (apoptosis), and maintaining overall cellular health. They have their own DNA, which suggests they evolved from ancient bacteria that formed a symbiotic relationship with cells.
• Multiply the light, minus the text
  A corner in the room had a mirrored wall that created multiple fragments of 1 reflection. It made me immediately think of light as ways to create illusions.
• Collective contribution - Light/Text
  Audio recording of Mish Rais's impression of a scene from the imagined piece.
• The spectator
  We describe the lighing set up that affects both a dancing scene and the the face of an spectator, Who IS being recorded and projected on a screen.
• Sweden - From Dusk to Dawn
  Future imaginings. A gathering of humans in nature at the dusk of the world, the transitional space in between, and then dawn of new beginnings.
• Lamp
  A human and a Lamp. Exploration of the present moment and space with improvised lighting from a being and a lamp, generating a personal journey about that relationship.