user /3

    • information
    • short bio Lili Rampre
      20 January 2021
      posted by: Lili Rampre
    • case of: Lili Rampre
    • Lili M. Rampre is researching strategies to highlight “off stage”; processes, practices and actors behind, off, under or above the stage. Lili’s research is focusing on power relationships and the dynamics of disparities in cultural capital (audience-performer, fan-star, producer-artist). Her work has often a role-reversal in its core proposal, ventriloquism of a kind, or unreliable narration. She tends to work from community to make a portrait of dissensus (is there a community, is it real?, portrayal of the limits) and is despite her sociologically coloured interest not employing quantitative methods of humanistic studies concerning analysis of the interviews with the audience which could provide a look into the language that said audience uses when they address the question of dance, but rather looks at the language as a live form that is used in the circle of (its) practitioners – dancers, dance teachers, art researchers and such.


    • reading session
    • research center
    • associate researchers Cycle 2
    • Reading Session 29 June 2020
      posted by: Vladimir Miller
    • Lili Rampre
    • ZSenne Art Lab
    • 16 July 2020
    • aaa

      Lili Rampre's recent developments within RC involved repurposing works of popular culture and their most prominent characteristics of an epic story to help re-narrativise group and community concerns. Lili’s long term interest in (re)imagining an audience, especially within performing arts, found a strong resonance with current examples of collective action carried out by various fan groups. In Zsenne reading session, Lili is inviting you to delve into some of the texts on citizenship through fandom as a vehicle and examples of such performances. The reading will start by addressing the proposed questions:

      • how conflations between activism and fan self-aware agency can re-shape our understanding of the audience,
      • potentials for public participation, civic action,
      • how new civic practices of engaged audience members are defining joyous activism and with your participation move on to opening new ones, concerning your particular practices and angles, approaches to the topic.

      This should not be misunderstood as an extension of the already well developed sociology and anthropology of fandom, but rather as the critical reappraisal that emergent large popular assemblages of self-identifying communities are an under-utilized and under-recognized potentiality for “performance” proper.

      Reading Session will be held online (live participation limited to a.pass participants, due to corona measures)

      please sign up to receive the link on the day of the session

      Thu, 16th July


    • a tool for changing text in 4 steps with the aid of movement


      1) Find a recording of a lecture or a speech you are currently interested in. It can also be written text, in that case you will need a reader for this practice or record yourself reading it. It is advised to begin with one author per track, so a panel discussion for instance is not a good start. Recording should be minimum 15min long.

      2) Just before you play the track in the space, or before your reader starts doing so out loud, take 5min and pretend you do not know who you are. Simply play with this thought, time the 5min.

      3) Move/improvise to the text as you would to a song. Or not. Try various strategies of moving, but do not stop for the whole time of the track/text reading.

      4) Write down or record yourself speaking about your experience, it can be shared with your reader. Try to construct this testimony in much the same manner as you have experienced it - via multiple temporary centers of attention. Form the next text.






      used as a listening aid within a group of 4 people

      different types of texts and voices used
      changes the understanding of listening and the body´s role in relation to it

      recorded a feedback session afterwards - intended to be used as a text for next session

      use of it changes the perception of your own body in relation to the voice that is being listened and moved to

      changes the meaning construction



    • project
    • Bubble Score
    • BUBBLE SCORE SESSION #8 11 January 2016
      posted by: Lili Rampre
    • 02 March 2016
    • 02 March 2016


      Sana, Mala, Sofia, Christian,  Agnes


      P > Q > A

      1. Mala > Sana >  Sofia

      2) Chris > Agnes > Sana

      3) Sofia > Mala > Chris

      4) Agnes > Sofia > Agnes

      5) Sana > Chris > Mala


      1) Mala > Sana >  Sofia

      We were supposed to create a poem based on the spontaneous feelings we had while reading the text. The text was about a city, which lasts forever. In this city there is no death, no harm, no loss.

      On the contrary, poetry is full of them. Poetry asks for uncertainty. In poetry each word de-creates the word before itself. Poetry is an everlasting change.

      That is one of the reasons I enjoyed doing the score.

      Dear Mala

      I was really fascinated by your score. I found it as surprising as a journey, an exciting unpredictable trip from a city to another.

      The act of choosing words while being affected by the illusionary stability of the city in the first text provided me with some random words. I wrote some lines with those words. To my surprise the new lines make another city, so different from the first one. In this new city nothing lasts forever except hope.


      Dear sofia  

      My question is what brings hope to a city and keeps it there.

      Bests Sana

      3) Sofia > Mala > Chris

      Dear Sofia,

      In the group reading this time we created a “sound image” or the image of “sound”.  I your proposal I am interested in the way a collective creates a virtual image of that for which the text provides the base, which is animated or established by the group through the reading, in this case the sound. In the reading the properties of the present are transformed into an image that’s virtual. So we are here in elsewhere at once. I wonder about what repetition and variations of the texts do. We read together but our texts vary. As we read together, usually when an unexpected variation of the text appears, read by another, I experience a rupture that has to do with my expectation of text remaining the “same” and “one for all”. I wonder what the difference at work in the text(s) produces or what do u want it produce in our individual reading(s) and our collective reading? It feels as if potentially more can be done with it, but I wonder what is that “more” and what impact it is to have on our experiencing and imagining. For example, in what way it nor only creates “breaks” and some sort of “rhythm”, actually a choreography of my/our reading, but also what impact it has on the way the “sound image” is produced?

      Thank u! xm

      4) Agnes > Sofia > Agnes

      Agnes! I had mirrors right in front of my eyes! All I saw was mirrored reality! What strange glasses you created! Instead of seeing what was in front of my face, I saw the space behind my neck, plus one single eye. I felt like a freaky Cyclop! As I walked backwards, I saw myself advancing in space. The usual correspondence between stepping backwards and distancing myself from the space in front of me was reversed. As I stepped backwards, I stepped forwards into space. But not into the space in front of me, oh no! I advanced into the space that was behind me. It's strange to realize how so quickly I naturalized that new order. Strange how my body organized itself around its new mirror-eye. Strangest is that I adapted and very quickly it was operable and almost normal. Are you using mirror-glasses and other devices to try to bring to the surface what's strange within us (in this case the strong alien of normalization)?


      5)  Sana > Chris > Mala

      Dear Sana,

      Looking out of the window from the big Apass studio I cant find the end of Brussels. The angle of the view is not as steep as the view you showed us in your video, the light is sharp and cold, not dusty, vibrating heat, and the city seems to consist of boxes arranged on squares, no round walls or towers with hats shaped like tear drops.

      I'm wondering if this city scape would generate monologues or dialogues and how we would be able to tell the difference? Who are the characters enjoying this view and how is their language hanging in the air?

      All the best,



      KEY WORDS: wordsssssound, deformation, c,o,m,m,a, pace, algorithms of imagination



Unfortunately we no longer have applications. Both programs: the Postgraduate as well as Research Center have come to an end due to the decision of the ministry of education to stop financing a.pass. At the moment we look into new plans for the future. More news soon on our website.

Alternativly you can upload your Research proposal, Portfolio, CV and other documents here.

Maximum file size: 50 MB, maximum 5 files.


add file..

Open Call

Contact person.

Every application will be offered a copy while stocks last of the a.pass publication In These Circumstances: a collection of methodologies, insights, experiences, ideas, researches from 15 years of a.pass. If you like to receive a copy then please provide an address below.

Please provide us with the following information:

Or upload your files here:

add file..

selected :