Running a great effective workshop is mostly a skill that will need preparation and patience. You need to ensure that your members have a specific understanding of what you are trying to show them, and that they can the actual instructions offer them.

Ensure that the workshop material can be presented in a variety of ways to speak to different learning styles and keep participants involved. Studies show that human beings are naturally enthusiastic about variety and respond to this positively.

Deviation is very important if you are teaching people a new approach or approach that they may possibly not be familiar with. This method makes it more probable that everyone will understand the information.

You can even present this kind of material in a number of strategies to stimulate participants’ creativity and help these people see patterns that might not have occurred to them or else. For example , consider asking these to come up with a “folklore” for a theme.

In addition to the demonstration of information, factors to consider that everyone participates within a discussion regarding the topic. Question them to consider it by themselves, discuss their particular ideas with a partner, and then reveal their results considering the entire group.

This is an enjoyable experience to review individual’s expectations of the workshop, so that you can ensure that you meet them. Additionally it is a good idea to get feedback upon what labored and did not work, which view website will allow you to make modifications meant for next time.

Work Group

Objective Enactive
This online lecture-demonstration unfolds the term ´Poetic Materiality´ within the context of designing and choreographing with Somatic Costumes. Through critiquing and applying the somatic practice of Skinner Releasing Technique, the poetics of philosopher Gaston Bachelard and the materiality of anthropologist Tim Ingold, this talk begins to map poetic and material agencies between bodies-costumes within the design-performance encounter.

Artist Talk

Objective Enactive

This talk will focus on the first outcome of Glitsch(ening) Ci(rculari)ty, a tripartite site-specific, where I am pursuing a speculative exploration of the ecology of the city, between the urban and the biological, unfolding its layers and materiality of time. The talk will end in a conversation between fellow researchers and artists in the collaborative project Urban Ecologies, where Glitsch(ening) Ci(rculari)ty, is generated from.


Polyvocal Tongue The presentation will focus on relational ethics and polyvocality in performative text. It will also explore the use of plural languages in a play, looking at how a polylingual praxis can open up new aesthetic potential in playwrighting and in artistic research in general.


TRANSPOSITIONS— JAR, Mette Edvardsen and modular diaries At the start, the idea for an artistic research conversation with Mette Edvardsen did not spring out of the topics shortlisted for the conference—hospitality, vulnerability and care—but a book that she had co-edited, and dropped in my shelf.

Panel Discussion

The Ethics of Vulnerability and Artistic Research

Any ethical framework must take account of the vulnerability of the human condition. This is significant in all creative endeavours – especially in artistic practice and the teaching of it – since the very act of creating something and putting it out into the world is an expression of vulnerability.