ABSTRACT
From one perspective, Liz Aggiss and Billy Cowie’s film projects1 – Beethoven in Love (1994), Motion Control (2002), Anarchic Variations (2002) and the 3-D, four-screen installation Men in the Wall (2003) – can all be seen as explorations of space, and spaces, not just those inhabited by the performers, but also the spaces between the viewer and the performance. I propose to examine them from that perspective in this essay.
