ming and new multimedia software to the physical body. All of our work is movement-based, yet we incorporate camera, video projection, digital sound processing, motion capture, sensor and MIDI (musical instrument digital interface) devices in our choreography and spatial designs, working toward a redefinition of performance. Our intention is to influence technological design and the understanding of corporeal presence in interactive territory, shifting the emphasis from machine applications to narrative content through full, bodyconscious interfaces and contemporary prostheses. Since its formation, AlienNation Co. has worked as a laboratory for cross-cultural, integrated arts research and has evolved organically out of several collaborative performance projects. Over the past 3 years, AlienNation Co. has been exploring the connections between live performance and cinematic/ video space-time, inventing new processes of composition that combine dance-theater choreography with video choreography, acoustic and electronic music, poetry and the visual arts. Experimenting with both site-specific and cross-cultural performance materials, the company has been particularly concerned with physical and emotional bodily experience and with the ideology of visual objects and images. Our experimental work, which includes theater and dance pieces, installations and film concerts, evolves along with our video/film production, documentation and writing. The work is committed to addressing issues of our time and our various, overlapping cultural experiences. As collaborative work with artists in other locations, it contributes to the crossing of borders and the exchange of creative dialogues in the world. Formed in 1993, AlienNation Co. currently has three productions in its repertoire. After the premiere and international touring of AlienNation (1993-1994), the second production, Lovers Fragments (Fig. 1), was created in two different versions shown in Cleve-