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What escapes computation in interactive performance? Browse the growing collection of provocations here!
Adam Russell
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. Following Bergson, let us think of what is being linked here (past...
Adrian Freed
"It is the artist who is truthful and it is the photography which lies, for in reality time does not stop." -Auguste Rodin -Adrian Freed
Amy LaViers
Can machine bodies express the same ideas as human bodies? This question has been explored in my lab through embodied practice, study of theoretical underpinnings of computer science, and experimental quantification of robotic system capacity....
Baptiste Caramiaux
As a provocation more than a personal statement, I would argue that if by interactive performance we mean technology-mediated performance involving interaction between human and digital technology of some kind, nothing escapes computation. In other...
Christine Jackson
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...
Christopher Knowlton
How can movement computing capture social movements, particularly as civic action begins to take place in digital space? How does internet activism translate to the physical world? Chicago-based Erica Mott Productions’ "Mycelial: Street Parliament" is...
Christopher Knowlton (2)
Many dancers understand that their medium - dance, and more broadly, movement - is not spontaneously generated. The accumulated amalgamation of movement patterns learned from family, culture, teachers, training and observations form a veritable genealogy...
David Coll
You weren't there, so why do i try to tell you about it?Presence is a funny thing. In a world that consists mainly of missed connections, how do electronic reminders serve to make one 'miss'...
Dawn Stoppiello
What seems to be escaping is an artistic, metaphoric and content-based consideration of the thing being computized within a performance work. Matching the choice of sensing tool/system/instrument to the content of any given work that...
Erin Christine Bell
Sensational description. Within the enactive approach, primarily propelled as a research proposal by Francisco Varela, is the importance of combining felt experience with 3rd person (computational) methods. One solo 'performance' of this sort of collaboration...
Evelyn Ficarra
Escapes: is not fully explained by computation, is ambiguous on some level, its origin is multivalent or unclear Computation: calculation, usually to do with mathematics, often with use of computers, but not necessarily, as in...
Francisca Morand and Javier Jaimovich
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...
Fred Bevilacqua
What escapes computation?No idea a priori. Google gave me one answer "The escape velocity is the minimum velocity required to leave a planet or moon". This reminded me when, holding my daughter on my shoulders...
Garrett Laroy Johnson
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. We...
Garrett Laroy Johnson (2)
We all know that no-one life escapes death; life and death are given together in chirality. As a writing form, computation is technical and unnatural. Computation describes the world on its own terms and intimates...
Harald De Bondt
In an interactive performance, the viewer becomes the creator. But because the interaction is limited in time the creation is reduced to "tweaking". This could be partially resolved by facilitating different ways to prepare and...
Ian Heisters
Is a computer or an algorithm a tool like a paintbrush, or is it something more like a gun? Computers were born in war as means of targeting weapons and gathering intelligence. Have they ever...
Jaime del Val
A fundamental and underestimated aspect of any embodied experience, including performance, is proprioception, the internal sense of movement of the body, which actually is always in relation to a larger environment, it has a molecular,...
Jean-Marc Matos
3 distinct interactive and participatory dance projects: Narcissus Reflected, RCO and BodyFail, in which various complex elements escape computation. On the level of the variability of audience involvement and participation, statistical evaluation of audience choices...
Jean-Philippe Rivière
In my opinion, 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. Through experience,...
Jennifer Essex
The ability to improvise and respond in the moment to a chaotic array of data with humour, immediacy and spontaneity. Computers lack presence. -Jennifer Essex
Jessica Rajko
As I began to write, Ananya Chatterjea’s [1] work immediately came to mind. Chatterjea questions the dominance of somatically informed, postmodern methods of ‘listening to the body’ as having ownership over embodied discourse within dance....
Joanna Magierecka
Hello I am The Hostess Please if you have not met me before Refer to my previous provocationYes, I insist on interacting with you through this should we say persona. Through this double exposition of...
Johannes Birringer
Although the notion of choreography hasn’t disappeared in the context of interactive performance and virtual art, it undergoes a re-evaluation in terms of how bodily movement produces data, and how a performer/immersant engages with an...
John Harlow
The past and the future. The context in which the work was imagined, refined, practiced, polished, as well as the influence and effects it has on its performers and audience. Intention. Computation may be able...
Kate Sicchio
Computers are usually really good at following instructions. Even when one randomizes a task or output, there is a set of possibilities that the computer will choose from. Computation does not do well at breaking...
Katerina El Raheb
Movement and human interaction can be therapeutic. Playing music, dancing, singing, drawing, writing as embodied acts, can be therapeutic. Can computing be therapeutic? Can the act of coding or engineering make us feel better in...
Lauren Hayes
What importance can established practices such as improvisation in the fields of dance, somatics, and electronic music offer in thinking about the relationships between performance, media, and space? LLEAPP was started by creative music...
Linda Lewett
Film: Linda LewettMulti-media performance: Maida WithersPerformers: Audry Chen, Anthony Gongora, Nikolai Shchetnev, Maida WithersMusic on Film: Solovtida Samosad BandPhotography: Dianne Falk Nature cycles through destruction and creation just as 'good' and 'evil' coexist in human...
Lucy Fandel
I am a dance artist and my sister is a hydrogeologist, developing a software that maps tens of thousands of iterations of how groundwater can move through a karst landscape. We are embarking on a...
Manjunan Gnanaratnam
Well, Interactive Performance developed asynchronously and incongruously across the various artistic mediums. As an example, Post Modern Dance, followed by its derivatives in the latter part of the 20th century, with the kinesthetic body as...
Muindi Fanuel Muindi
If "computation" is "in-formation" processing, I would like to suggest that on-going “trans-formations" escape computation in interactive performance. To suggest this, I offer the following: 1. A coyote passes through your backyard on a rainy...
Norah K Zuniga-Shaw
Qualitative nuance. -Norah K Zuniga-Shaw
Sarah Fdili Alaoui
What escapes computation in artistic performance is almost everything… From rich experiences, intentions, movement in continuous space and time, computation makes numerical representations, and these are incomplete snapshots of a larger story. Rather than the...
Sarah Levinsky
This question could be interpreted as computation failing to capture, categorise, and process the ‘whole’ of human movement, in all its multi-modal expressive, dynamic, and ecologically-entangled qualities. By failing thus, it cannot perhaps properly interact,...
Scott Rubin
Can live artistic interactive performance 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? Considering which rules to break, and...
Sha Xin Wei
...Any choice of measure, or instrument of measurement, makes some aspect of experience legible, and others illegible...
Sotiris Manitsaris
In non-digital performances almost everything escapes computation. In digital ones a lot of things still escape computation for 3 reasons. There are human behaviours that: 1. (Knowledge): we cannot characterise from a biological/anthropological perspective; 2....
Victor Gonzalez-Sanchez
Can we better understand the complex process of human music perception through a standardisation of the quantification of involuntary correspondences between motion and music? Exploring the frequency-domain and time-domain links between sound and motion signals...
Zhi XU
The variable body. -Zhi XU