ABSTRACT
This essay reflects on workshop methods and immersive performance installations developed by the DAP-Lab, focssing The focus is on movement and media generation (sound, tactile interactivity) through sensortized wearables designed to help the mover experience, enjoy, and examine various proprioceptive and haptic engagements with “kinetic atmospheres” (kimospheres) or augmented environments in which mediums such a video, sound, light, objects, and armatures are alive and apprehended. The kinetic atmospheres are physically and sensorially immersive, encouraging diverse modes of embodied “handling”, orienting, interacting, and echolocating (the workshop is open to all and welcomes participants with disabilities), but also gives time for movers to reflect on peripherals, on not seeing or knowing, on different materialities of space and virtual space, and on (not)being/feeling inside oneself. Immersive choreographies imply an active use of such knowledge as can be gained in experimental aural and haptic architectures . Thus, new and challenging questions arise about the material affect of moving between real + virtual spaces and connecting with environments through intersensory translations.
