Leave a Comment on …I could have computed this was actually not possible…but I remain convinced we actually did touch the moon… …I could have computed this was actually not possible…but I remain convinced we actually did touch the moon…
Leave a Comment on 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… 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…
Leave a Comment on Can an unimaginable dynamic network of interruptions, subversions, coy heterophony, recontextualized mistakes, instantaneous flourishes of communal joy, self-sabotage, and narcissism be formalized? Can an unimaginable dynamic network of interruptions, subversions, coy heterophony, recontextualized mistakes, instantaneous flourishes of communal joy, self-sabotage, and narcissism be formalized?
Leave a Comment on …Any choice of measure, or instrument of measurement, makes some aspect of experience legible, and others illegible… …Any choice of measure, or instrument of measurement, makes some aspect of experience legible, and others illegible…
Leave a Comment on …it is precisely what escapes proper computation that constitutes the thematic itself of the piece… [+video] …it is precisely what escapes proper computation that constitutes the thematic itself of the piece… [+video]
Leave a Comment on From rich experiences, intentions, movement in continuous space and time, computation makes numerical representations, and these are incomplete snapshots of a larger story… From rich experiences, intentions, movement in continuous space and time, computation makes numerical representations, and these are incomplete snapshots of a larger story…
Leave a Comment on you weren’t there, so why do i try to tell you about it? you weren’t there, so why do i try to tell you about it?
Leave a Comment on …nothing escapes computation… interactive performance is, by definition, the act of performing computations… …nothing escapes computation… interactive performance is, by definition, the act of performing computations…
Leave a Comment on 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… 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…
Leave a Comment on 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. 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.
Leave a Comment on 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… 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…
Leave a Comment on Although the notion of choreography hasn’t disappeared in the context of interactive performance and virtual art, it undergoes a re-evaluation… Although the notion of choreography hasn’t disappeared in the context of interactive performance and virtual art, it undergoes a re-evaluation…
Leave a Comment on 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?… 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?…
Leave a Comment on Is a computer or an algorithm a tool like a paintbrush, or is it something more like a gun?… Is a computer or an algorithm a tool like a paintbrush, or is it something more like a gun?…
Leave a Comment on What escapes computation in interactive performance? Thinking it through, I’d have to say – almost everything. What escapes computation in interactive performance? Thinking it through, I’d have to say – almost everything.
Leave a Comment on How can movement computing capture social movements, particularly as civic action begins to take place in digital space?… [+video] How can movement computing capture social movements, particularly as civic action begins to take place in digital space?… [+video]
Leave a Comment on During the process of movement-sound-biosignal interaction, a movement language emerges that is particular to the technological and creative process… During the process of movement-sound-biosignal interaction, a movement language emerges that is particular to the technological and creative process…
Leave a Comment on The ability to improvise and respond in the moment to a chaotic array of data with humour, immediacy and spontaneity. Computers lack presence. The ability to improvise and respond in the moment to a chaotic array of data with humour, immediacy and spontaneity. Computers lack presence.
Leave a Comment on Can we better understand the complex process of human music perception through a standardisation of the quantification of involuntary correspondences between motion and music?… Can we better understand the complex process of human music perception through a standardisation of the quantification of involuntary correspondences between motion and music?…
Leave a Comment on 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?… 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?…
Leave a Comment on In an interactive performance, the viewer becomes the creator… In an interactive performance, the viewer becomes the creator…
Leave a Comment on Can machine bodies express the same ideas as human bodies?… Can machine bodies express the same ideas as human bodies?…
Leave a Comment on On How Proprioception Escapes Algorithmic Reduction… On How Proprioception Escapes Algorithmic Reduction…
Leave a Comment on Nature cycles through destruction and creation… [+video] Nature cycles through destruction and creation… [+video]
Leave a Comment on What seems to be escaping is an artistic, metaphoric and content-based consideration of the thing being computized within a performance work… What seems to be escaping is an artistic, metaphoric and content-based consideration of the thing being computized within a performance work…
Leave a Comment on “It is the artist who is truthful and it is the photography which lies, for in reality time does not stop.” -Auguste Rodin “It is the artist who is truthful and it is the photography which lies, for in reality time does not stop.” -Auguste Rodin
Leave a Comment on Many dancers understand that their medium – dance, and more broadly, movement – is not spontaneously generated… [+video] Many dancers understand that their medium – dance, and more broadly, movement – is not spontaneously generated… [+video]
Leave a Comment on LLEAP: a forum for self-directed creative practice research [video] LLEAP: a forum for self-directed creative practice research [video]
Leave a Comment on 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. 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.