… Provocation …I could have computed this was actually not possible…but I remain convinced we actually did touch the moon… >>>read full provocation Panelist provocoation Consider the use of gesture recognition in interactive performance as a form of temporal linkage between the shifting intentions and actions of performers across time… >>>read full provocation Provocation Can an unimaginable dynamic network of interruptions, subversions, coy heterophony, recontextualized mistakes, instantaneous flourishes of communal joy, self-sabotage, and narcissism be formalized? >>>read full provocation Panelist provocoation …Any choice of measure, or instrument of measurement, makes some aspect of experience legible, and others illegible… >>>read full provocation Panelist provocoation …it is precisely what escapes proper computation that constitutes the thematic itself of the piece… [+video] >>>read full provocation Panelist provocoation From rich experiences, intentions, movement in continuous space and time, computation makes numerical representations, and these are incomplete snapshots of a larger story… >>>read full provocation Provocation you weren’t there, so why do i try to tell you about it? >>>read full provocation Panelist provocoation …nothing escapes computation… interactive performance is, by definition, the act of performing computations… >>>read full provocation Provocation This meeting between human, performance, and landscape might be vividly enabled by maps and models, but it exists outside of them, in a tender and ephemeral place… >>>read full provocation Provocation I am thinking about audience/spectators/participants/viewers/listeners. The experience of processing interactive performance can never be fully tracked and monitored. There is a deep personal and private aspect to the process of encountering art. I safeguard that actually; I wish to protect it from computation. >>>read full provocation Provocation To articulate more-than-human insights, we have to identify what limitations we have already let creep in about how thought can move, what a body can do, and how intentionality can emerge in technical ensembles… >>>read full provocation Provocation Although the notion of choreography hasn’t disappeared in the context of interactive performance and virtual art, it undergoes a re-evaluation… >>>read full provocation Provocation In my own research of the felt experience of improvisational dance interaction I have found consistent intensity of sensation located in regions of the chest. Is it possible to use such descriptions as a map, as a guide for regions of the dancers’ bodies to monitor?… >>>read full provocation Provocation Is a computer or an algorithm a tool like a paintbrush, or is it something more like a gun?… >>>read full provocation Provocation What escapes computation in interactive performance? Thinking it through, I’d have to say – almost everything. >>>read full provocation Provocation How can movement computing capture social movements, particularly as civic action begins to take place in digital space?… [+video] >>>read full provocation Provocation During the process of movement-sound-biosignal interaction, a movement language emerges that is particular to the technological and creative process… >>>read full provocation Provocation The ability to improvise and respond in the moment to a chaotic array of data with humour, immediacy and spontaneity. Computers lack presence. >>>read full provocation Panelist provocoation Can we better understand the complex process of human music perception through a standardisation of the quantification of involuntary correspondences between motion and music?… >>>read full provocation Provocation Qualitative nuance. >>>read full provocation Panelist provocoation Does the somatic, postmodern practice of deconstructing embodied experience along spatial, temporal, kinesthetic, anatomical parameters neatly align with the limitations, goals, and aims of computational practices?… >>>read full provocation Provocation In an interactive performance, the viewer becomes the creator… >>>read full provocation Panelist provocoation Can machine bodies express the same ideas as human bodies?… >>>read full provocation Provocation On How Proprioception Escapes Algorithmic Reduction… >>>read full provocation Provocation Nature cycles through destruction and creation… [+video] >>>read full provocation Provocation What seems to be escaping is an artistic, metaphoric and content-based consideration of the thing being computized within a performance work… >>>read full provocation Provocation “It is the artist who is truthful and it is the photography which lies, for in reality time does not stop.” -Auguste Rodin >>>read full provocation Provocation Many dancers understand that their medium – dance, and more broadly, movement – is not spontaneously generated… [+video] >>>read full provocation Provocation The variable body [video] >>>read full provocation Provocation LLEAP: a forum for self-directed creative practice research [video] >>>read full provocation Provocation If I had to choose from the vast panel of what escapes computation in artistic performance, I’d say experience. Experience of the performer but also the experience of the audience. >>>read full provocation …I could have computed this was actually not possible…but I remain convinced we actually did touch the moon… Consider the use of gesture recognition in interactive performance as a form of temporal linkage between the shifting intentions and actions of performers across time… Can an unimaginable dynamic network of interruptions, subversions, coy heterophony, recontextualized mistakes, instantaneous flourishes of communal joy, self-sabotage, and narcissism be formalized? …Any choice of measure, or instrument of measurement, makes some aspect of experience legible, and others illegible… …it is precisely what escapes proper computation that constitutes the thematic itself of the piece… [+video] From rich experiences, intentions, movement in continuous space and time, computation makes numerical representations, and these are incomplete snapshots of a larger story… you weren’t there, so why do i try to tell you about it? …nothing escapes computation… interactive performance is, by definition, the act of performing computations… This meeting between human, performance, and landscape might be vividly enabled by maps and models, but it exists outside of them, in a tender and ephemeral place… I am thinking about audience/spectators/participants/viewers/listeners. The experience of processing interactive performance can never be fully tracked and monitored. There is a deep personal and private aspect to the process of encountering art. I safeguard that actually; I wish to protect it from computation. To articulate more-than-human insights, we have to identify what limitations we have already let creep in about how thought can move, what a body can do, and how intentionality can emerge in technical ensembles… Although the notion of choreography hasn’t disappeared in the context of interactive performance and virtual art, it undergoes a re-evaluation… In my own research of the felt experience of improvisational dance interaction I have found consistent intensity of sensation located in regions of the chest. Is it possible to use such descriptions as a map, as a guide for regions of the dancers’ bodies to monitor?… Is a computer or an algorithm a tool like a paintbrush, or is it something more like a gun?… What escapes computation in interactive performance? Thinking it through, I’d have to say – almost everything. How can movement computing capture social movements, particularly as civic action begins to take place in digital space?… [+video] During the process of movement-sound-biosignal interaction, a movement language emerges that is particular to the technological and creative process… The ability to improvise and respond in the moment to a chaotic array of data with humour, immediacy and spontaneity. Computers lack presence. Can we better understand the complex process of human music perception through a standardisation of the quantification of involuntary correspondences between motion and music?… Qualitative nuance. Does the somatic, postmodern practice of deconstructing embodied experience along spatial, temporal, kinesthetic, anatomical parameters neatly align with the limitations, goals, and aims of computational practices?… In an interactive performance, the viewer becomes the creator… Can machine bodies express the same ideas as human bodies?… On How Proprioception Escapes Algorithmic Reduction… Nature cycles through destruction and creation… [+video] What seems to be escaping is an artistic, metaphoric and content-based consideration of the thing being computized within a performance work… “It is the artist who is truthful and it is the photography which lies, for in reality time does not stop.” -Auguste Rodin Many dancers understand that their medium – dance, and more broadly, movement – is not spontaneously generated… [+video] The variable body [video] LLEAP: a forum for self-directed creative practice research [video] If I had to choose from the vast panel of what escapes computation in artistic performance, I’d say experience. Experience of the performer but also the experience of the audience.