koreografska fantazija br. 3: open processes is the third work in the award-winning choreographic series that explores choreography as a structural practice. Performed in the dance studio, it explores dance as a process, the consequences of movement, and its open materiality. The choreography intersects with John Cage’s Sonatas and Interludes for Prepared Piano while confronting various elements of the spatial inner and outer architecture. Cage started working on the cycle in February 1946. The choice of materials and the technique of piano preparation in Sonatas and Interludes was largely dependent on improvisation, and Cage later wrote that the cycle was composed “by playing the piano, listening to differences making a choice.” On several accounts, he compared it to collecting shells while walking on the beach. Choreography works with the composition as a whole, converting several sonatas to silences while retaining the original duration. The silent pieces are, in a sense, introverted and are opening new possibilities for the sounded ones. Music joins choreography as an autonomous parameter and a process of architecture, of both space and movement.