Is an evocation and publication.

Via private WIKI, a diverse team of inspiring choreographically and digitally involved artists have imagined SciFi futures and subsequent physical realities for our human bodies.

More about the publication:

(The texts below will be online from November 13th 2022 until December 2026)

The following invited artists drafted their contributions directly into the, iterating in front of each other, editing or adding to each others work through permission-less and playful hyperlinking.

Additionally, M@ approached this question as a movement based enquiry titled Our Bodies Are Only Ours When We’re Dancing. Hoping that choreography-as-a-technology may help us take our bodies with us into the future.
Romain Hassanin, Bgirl Raygun, and M@, worked together in a studio, dancing and thinking, co-authoring a contribution to the publication titled The Future Arrives At All Costs.


This project has been supported by:




Images:  Hero image designed by Iris Shen for the publication – How Will We Take Our Bodies With Us Into The Future?

Massaged by the Medium

Massaged by the Medium.
Inventories of Affect.

Is a book project by artists across UTC +7 through +12 working to make felt the embodied effects of our (chronic) digital condition. It asks, What is what we’re doing, doing back to us?

Click here to download PDF public release beta (11mb)

The site of all digital experience is the interface, the realty [sic] where digital technology and human biology are inter-actors upon one another. As we wield the interface upon digital assets, so does the interface write itself into our movement and into our thinking.

If we shape our environment and then our environment shapes us, let us consider that;

  • The screen is breathtaking, the medical term for this is screen apnea.
  • Confirmation bias is a currency, googlemaps’ political borders adapt to your IP address1.
  • Predictive text is a misnomer for think-assist… thus writing-to-think does itself becomes a tandem act of mundane cyborgism.


A button is a luxury in the default of touchscreens.

A playlist is not a mixtape. An email is not a letter. This PDF is not a book.




Inspired by “The Medium is the Massage” we shift focus from the cultural ramifications of the electronic age to those of our digital age. With modality also informed by “Understanding Comics”, “At Large (with reasonable doubt)” and “Operating Manual for Spaceship Earth”.

If we are what we repeatedly do then we are input to a global fibre optic network. If we are the sum of our environment then we are peripherals carrying out tasks decided by overlapping algorithms, optimised towards opaque incentives.

This book encourages playful reasoning from first principles to help us make apparent and bear witness to second order effects.

Digital can extend human will, but it is also an alien lifeform, a social phenomena, the material condition of our shared context. We are doing this. And what is that doing back to us?

Lead: M@

Designer: Travis DeVries

Editor: Chloe Chignell


Indigenous Dramaturgy in Dance: Research Findings

The Critical Path: Indigenous dramaturgy in dance project has created space for action research in the framework of a fully engaged and culturally grounded approach to considering and supporting Indigenous Australian dramaturgies in dance.

Project managed and curated by Jasmine Gulash Producer, First Nations Critical Path

Article prepared by Tammi Gissell (BA, PTP (Hons) Collections Coordinator, First Nations Museum of Applied Arts & Sciences

Marilyn Miller, Raymond D Blanco, Kirk Page, Jasmin Sheppard, Henrietta Baird, Lily Shearer, Vicki Van Hout, Jacob Boehme

Shana O’Brien, Amy Flannery, Kassidy Waters, Jye Uren

Peta Strachan, Matthew Doyle, Jo Clancy, Katie Leslie, Neville Boney, Aroha Pehi, Tara Robertson



Read Indigenous Dramaturgy in Dance: Research Findings

Faux Archives by Kay Armstrong

Kay Armstrong, a participating artist of the Dancing Sydney Archive Project in 2019, has created a photo essay of herself entitled Faux Archives, which showcases photographs of the artist and short reflections over the years of her career.

Talking Dance: Dance Ecologies

In Dance Ecology Three, Martin del Amo is talking to First Nations choreographers and dancers Thomas E.S. Kelly, Katina Olsen and Taree Sansbury.

Infinite Item: Resource List

Infinite Item is Dean Walsh’s decade-long exploration-in-progress. Dean has an extensive reading and research list that he’d like to share with anyone interested in exploring and knowing more about these areas of climate change and marine environmental concern themselves. Infinite Item is supported by Woollahra Municipal Council through the Community and Cultural Grants Program.

Talking Dance: Dance Ecologies

In Dance Ecology Two, Martin del Amo is talking to New South Wales-based dance and performance makers Jade Dewi Tyas Tunggal, Victoria Hunt and Kirk Page.

Talking Dance: Dance Ecologies

In Dance Ecology One, Martin del Amo is talking to Sydney-based choreographers and dancers Angela Goh, Rhiannon Newton and Ivey Wawn.

Women’s Work Digital Publication

Launched on International Women’s Day 2020, the Women’s Work Digital Publication incorporates the processes, practices and achievements of 13 senior female dance artists and opens up some of the questions and explorations around the challenges senior female dance artists face. The publication was created in response to a series of Women’s Work gatherings and conversations led by Julie-Anne Long for Critical Path in 2019.

Editor – Julie-Anne Long
Copy Editor and Project Co-ordinator – Paul Walker
Designer – Deborah Kelly

Co-presented with Sydney Festival 2019 and March Dance 2019/2020. Supported by a community and cultural grant from Woollahra Council, Create NSW and Australia Council for the Arts.

Image credit: Julie-Anne Long, ‘Val, The Invisible’, photo by Heidrun Löhr, design by Deborah Kelly


Working with artists with a choreographic practice and an interest to engage critically with choreography, Critical Path delivered a diverse program from June 2018 – May 2019 centred on the idea of Our Place in Time – what it means as an artist to practice in Australia now, our understanding of our place in history and what this means for our future.

This review document takes a look at the activities undertaken over the 12 month period, with images and quotes from artists.


Women’s Work Dance Workshop and Afternoon Tea with Young Dancers

On Sunday 28 April 2019, Julie-Anne Long and Charemaine Seet facilitated a unique dance workshop and afternoon tea where senior female dance artists got to share ideas about dance, the creative process and their work with young female dancers, aged 8 to 12 years old.

Women’s Work has been supported by a Community and Cultural Grant from Woollahra Council, Create NSW and Australia Council for the Arts.


Interviews and video of NORPA (Northern Rivers Performing Arts) and Critical Path’s two INFORM residencies.

1. Nat Cursio
2. Belloo Creative brought in Idiot Savant (Japan)

Rakini Devi – Body as Archive

The Body as Archive
In collaboration with Karl Ford, Rakini Devi documents her body as archive residency. By employing the body as the receptacle of memory, choreographer and performance artist Rakini Devi focused on key works that marked her journey in dance.

Acknowledging Country Through Soft Tone 2018

This project takes the form of an audio work for headphones, that offers an embodied practice for Acknowledging Country. It was recorded at Critical Path – a choreographic research centre located on Gadigal Land of the Eora Nation.

This project is an initiative of Critical Path, supported by Woollahra Council and Blakdance.

Text – Lizzie Thomson
Vocals and Composition – Sonya Holowell
Recording and Mixing – Melanie Herbert

Artist Advisors – Vicki Van Hout, Matthew Doyle, Tim Bishop
With thanks to Agatha Gothe-Snape, Claire Hicks, Henrietta Baird and Romy Caen

Your donation supports independent dance artists in Australia

Critical Path

The Drill, 1C New Beach Rd,
Darling Point (Rushcutters Bay), Sydney