16 JUN 2021 · Throughout this Spring I have asked colleagues to imagine pieces that don’t exist, and tell me about these pieces for the camera. I have loved watching people get into their ideas, to follow how something arrives to become more or something else. I started imagining too, those pieces that were being told stuck with me, and kept informing me in ways I couldn’t really track. I remember the situations we were in, when those pieces were created, how we swayed together and how they entered a flow of thinking that took us places. What I try here is very small compared to those other pieces, I think. There is nobody with me in the room, and nobody to make- with. The piece I imagine here is more a memory than an idea and more a re- creation of performances that I have already witnessed. Sunniva Vikør Egenes is a dancer currently based in Stockholm, who has collaborated with choreographers such as Martin Nachbar (DE), Anne- Mareike Hess (LUX) and Rosalind Crisp (AU). She has been involved in the award- winning film, GRITT by Itonje Soimer Guttormsen, where her essay was turned into the voice- over for the main character, and she is currently serving on the board of Ravnedans festival in Norway. During the two years of the NPP program she has worked through and with different types of material such as clay, metal and with film. In those processes she has been interested in looking at different types of embodied knowledges, and is often running between recognition, bewilderment and moments when she re- encounters her own dancing whether it is in memorising poems from different languages or trying to slip through a space behind a camera.

16 JUN 2021 · Accompanied by one of my best friends James O'hara, we list "WITHS"; that which accompanies, holds up, leads, follows and exists within, the artistic practice in which I shared through a series of encounters at the end of my NPP studies. Sofie Burgoyne is a female-identifying artist based in nipaluna, lutruwita also known as Hobart, Tasmania. Her practice is centered around the body and rooted in choreography but emerges in many forms. Interested in togetherness in difference, her artistic practice often sets up rehearsals or tests for being, living and working together. Sofie prioritises collaboration and cross art-form conversation as processes of leaning into unexpected encounters and change. Recent artist credits include, The Pink Palace for Constance Ari, Field Notes from Care Workers for Bus Projects and a written publication, Red Sandstone for A Published Event’s Lost Rocks Project.

16 JUN 2021 · For this podcast Salka has invited dancer and choreographer Hana Lee Erdman to ask her questions about her artistic practice. Salka Ardal Rosengren works with dance and performance. She graduated PARTS in 2010 and has since worked with artists such as Eszter Salamon, Xavier Le Roy, Daniel Linehan, Gunilla Heilborn, Malin Élgan, Tino Sehgal, Boris Charmatz, Salva Sanchis, Rosalind Goldberg, Liz Kinoshita and Sarah Vanhee. She has produced her own work in collaboration with dancer and choreographer Mikko Hyvönen (Trash Talk), Andrew Hardwidge (subsubbodysub) and artist Nicholas Hoffman (The Thing With a Hook). She’s currently working on her project Lasting Figures: https://www.uniarts.se/english/news/events/events-spring-2021/npp-presentations-weeks/salka-ardal-rosengren

16 JUN 2021 · My practice revolves around extended ontology as seen through the lens of artificial intelligence (AI) and neurodiversity. In this podcast episode I have a conversation with an AI to get a better understanding of its world view, especially from the perspective of ethics. The traditional discussions around ontology have been biased towards a neurotypical world view. It is based on a common set of perceptions of what reality is, based on the neurotypical human brain. In my practice I have been interested in taking a broader view – to see where we get when we extend the concept of intelligence beyond the neurotypical or even human. What new do we discover? What new ethical challenges do we find? About Louise Crnkovic-Friis: I work within the intersection of somatic practice, machine intelligence and neurodiversity. I explore what happens when you go beyond the neurotypical definition of intelligence. My current practice is performed through the collaboration with artificial intelligences doing generative choreography, writing and semantic style transfer – contrasting and integrating it through the lens of neurodiversity. The ultimate expression is multimodal and can take shape as something visual, textual, choreographic or somatic. My previous roles have been a published researcher, an artistic director, a choreographer, a founder, a mentor and a dancer.

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16 JUN 2021 · Kristin pondering with slow thoughts around what her practice could do with somebody IN them ? ... But - where is IN? Read more about Kristin Nango’s degree project Being with – in an expanded field: https://www.uniarts.se/english/news/events/events-spring-2021/npp-presentations-weeks/kristin-nango-being-with-in-an-expanding-field

16 JUN 2021 · What is the sound of a practice? How does my kinetical practice sounds? Does an editing practice have a sound? Edit a film, edit a moving image, edit a closet, edit a text, edit a voice recording, edit this audio zine. A filming practice that is an experiment to experience screen as a site for liveness and liveness as a site for screen-ness. Cooking methods and a practice of cooking in conversation with dance and choreography. What is the role of fiction in the artistic practices that Nadi is practicing? Playing as a tool and an entry point to practice and experiment. The episode consist of sounds and words from the artistic practices that Nadi practiced during her masterstudies at New Performative Practices at the Dance Department of the Stockholm University of the Arts (2019-2021). Nadi Gogoulou is a dancer, performer and dancemaker. She holds a diploma in Dance, has a degree in Economics and a master in New Performative Practices. She has worked with many Greek choreographers in dance and site-specific performances and creates projects of her own, such as “DownFall”, “On the spot”, “Late Night Impro”, “the move” and “sHow me”, “The cooking-with-Nadi show” and “B.A.W.L.”. She directs her own short films with screenings in International Film Festivals. Nadi works in theater productions in Greece as a choreographer and gives classes of improvisation and her own style of moving, in a class that she call “Join the Fun”. Rhythm, pattern, loops, repetition, iteration, musicality, virtuosity, playfulness, game, rules, +1-ness are essential key words for Nadi’s artistic practices and work. Furthermore, Nadi is interested in making things practically with hands as a method to work, and therefor to create methods as a choreographic tool to use. She put attention on making a dance, a move, a piece, a video, on taking a photo, making the costume, creating the music, saying the song or even singing the song, making the score and doing the score, following, editing, spilling and failing the score. In these ways she thinks of herself as a method enthusiast. To make methods that generate, maintain, inspect and transform. To generate as to make things. To generate choreography from inside the choreographing. To maintain what she makes and keep working with it. To inspect it while still practicing it, to examine what is happening, how it functions. To set a formula not in terms of a magical spell but to identify methods that create space for different perceptions to exist.

16 JUN 2021 · In this episode we meet Katarina Eriksson in her kitchen in Gröndal and in the body of Per Sacklén on a walk in the forest. These spaces encourage thoughts to unfold around creative process, artistic practice, dance, life, responsibility and nature. And a squirrel also comes by. Katarina Eriksson is a Stockholm based dance-person engaged in; different ways of learning, how to work with creativity and curiosity, how to share time and space, how to engage in a sustainable way of living and how to let failure be a part of creative work. She also continuously asks questions. At the moment she is specifically looking at time and distance, responsibility and sustainability, rhythm and dynamics. To look and listen and look and listen again. As a performer she works in close collaborations. The work has changed over time, going from being a dancer in a classical repertoire company performing a lot of choreography that she was not involved in creating, to being a free-lance dancer who is part of the creative process. The ongoing project, Rörelsetruppen, is a group of artists and writers that meet to move and talk about certain themes such as; falling, boarders, weight. There is an interest in movement and the sharing of experiences. In 1997 Per Sacklén, Håkan Mayer and Katarina started Räserbyrån, a dance-collective, to create an alternative way of working with dance, a way that was democratic and non-hierarchic. They collaborated with musicians from the field of experimental music at Fylkingen and curated improvisation sessions inviting dancers from various scenes to participate. Räserbyrån works with certain themes such as; collaboration, participation, site specific, being gentle to nature and each other, learning, being curious and exploring the tactile senses.

16 JUN 2021 · This audio collage is made of fragments from my degree presentation, the questions, the voices of my untimely collaborators and listening scores that were present for me throughout the process. Here, I am transposing some of the materials that constituted Affective resonances: a multi-channel surround installation and a soniferous performative site. It is a sensescape that merges with a female cocktail party to dwell into soundplaces. For further information on my presentation and the soundscape compositions that are part of this audio collage you can visit the following link and view the attached documents. Thank you for listening. More information: https://www.uniarts.se/english/news/events/events-spring-2021/npp-presentations-weeks/iris-nikolaou-affective-resonances Iris Nikolaou is a transdisciplinary artist from Athens. Ηer work traverses across the modalities of dance, theatre and sound. She has been developing the concept of choreosounding as a container of her research on listening from, to, with and through a body and in relation to place, other bodies, e/motion, inner and outer sound worldings. Through choreosounding she explores embodied deep listening as a choreographic tool and a movement research strategy. She works as a performer, choreographer and teacher in various contexts and institutions in Europe and the U.S. including the School of Drama of the faculty of Fine Arts at Aristotle University of Thessaloniki, the National Theater of Northern Greece, the National Opera of Greece and Athens Festival. Credits Podcast Affective Resonances is enveloped in six soundscape compositions that contain voices, field recordings, music and aural/oral manifestations of the work of people that I encountered while practicing embodied deep listening and have influenced me and informed the practice throughout the process. Besides Pauline Oliveros’, Hildergard Westerkamp’s, Steven Feld’s and John Cage’s work, which have infiltrated and inspired the work in audible and inaudible ways, I here want to acknowledge the multitude that is implicitly or explicitly part of this work. Additionally, to the credited sounds, I am also grateful to the locations, the animate and inanimate life evoked via the field recordings, which are impossible to name. I leave those to the listener's imagination. This podcast includes excerpts from the following audio collages: I.SENSESCAPE Contains excerpts from Luc Ferrari's Petite symphonie intuitive pour un paysage de printemps (1973-74), (from Hétérozygote / Petite Symphonie Intuitive Pour Un Paysage De Printemps, Recollection, February 2017); flute improvisation by Iris Nikolaou; field recordings by Iris Nikolaou*; found sounds from freesound.org ** II.SOUNDPLACES Contains excerpts from Eliane Radigue’s Triptych (1978) (Important Records, 2009); Craig Shepard’s Sheepshead Bay (from On Foot: Brooklyn, Edition Wandelweiser Records, 2014); T.S. Eliot's Four Quartets (recited by T.S. Eliot and Alec Guiness); Samuel Beckett’s The Unnamable (recited by Iris Nikolaou); field recordings by Iris Nikolaou* and Yorgos Samantas, found sounds from freesound.org ** III.FEMALE COCKTAIL PARTY Contains fragments from lectures and interviews of: Adrianne Rich, Rosi Braidotti, Virginia Woolf, Angela Davis, Sara Ahmed, Erin Manning, Audre Lorde, Mary Overlie, Lisa Nelson, Karen Barad, Donna Haraway, Judith Butler, Deborah Hay, Frances Stonor Saunders. Compiled by Iris Nikolaou. * collected from the beginning of the pandemic until now, May 2021. ** licensed under Creative Commons / CC0 1.0 Universal - Public Domain Dedication.

16 JUN 2021 · Written by Irene Cantero Sanz Recorded at B58 an afternoon in May 2021 With: Annika Boholm as the translator Csilla Hódi as the observer Iris Nikolau as the accompanier Irene Cantero Sanz as the lantern