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.