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Dance and the digital
Art's centre cannot hold
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Relationships between machine, brain and body have long been British choreographer Wayne McGregor’s obsession. He uses technology to try to understand how his dancers intuitively – or habitually – embody creative expression. This year, McGregor’s premiere dance works in London have explored how our great “sensorial organ”, the body, interacts with drones – in the show +/- Human – and, in Autobiography, how our human genome shapes our destinies via millions of genetic permutations, for which McGregor had his own genome sequenced, with 11,000 pages returned in just the first level of analysis.

Adam Norton works in a large blue brick industrial building along a road near a trendy bakery heralding gentrification’s arrival in Alexandria. He has been painting and making installations here most days, watched over by a shop dummy’s head and a wall photo of the father of modern computing, British mathematician Alan Turing.

Crunching numbers and creating art can be a difficult double act, however, when money dominates the bricks and mortar of an overpriced city.




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