During the process of movement-sound-biosignal interaction, a movement language emerges that is particular to the technological and creative process…

1) During the process of movement-sound-biosignal interaction, a movement language emerges that is particular to the technological and creative process. When there is emphasis on movement or dance, the processes of choreographic composition require a particular creation methodology, or can they use non-interactive choreographic composition methods? What are the differences?

2) While composing and designing interactions for a sonic interactive body with physiological signals, regardless of having a unifying theme that drives the artistic work, what are the implications of the order in which the components of the piece are composed? e.g. start with movement? with sound composition? with interaction design?

-Francisca Morand and Javier Jaimovitch, Emovere – Universidad de Chile

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