hello all:
very interesting responses (Jaime), thanks.
Perhaps our debates have been long/convoluted, so I suggest to take
out just one aspect, perhaps we get more involvement from the
community at large.
To me there is a fundamental feedback between the development of
the system and the experimentation via
improvisation, and how this experimentation sediments in an
eventual choreography, or even a choreographic language, as well as
how it sediments
into a more articulate form of the system/software/hardware. .....
(THERE IS NO MORE CHOREOGRAPHY, IN THE CONTEXT WE ARE DISCUSSING)
If we want to explore this potential in depth I assume that the
construction
of the instrument is essential in the process, and I remind you of
the fact
that I consider the intrument to be not just the software and
hardware, but
also the dancer's body, the space he/she moves in etc. It is more
about the
feedback between different aspects of the instrument (again
avoiding our old
dichotomy between dance and technology) and see it as aspects of
the same
process, only then I assume can we discover in depth media specific
languages, even disciplines of dance and the body (and therefore
new kind of
content).
(YES, I WOULD LIKE TO DISCUSS THE 'INSTRUMENT" and HOW FAR YOU
EXTEND THIS CONCEPT OR IDEA. INCLUDING THE PHYSICAL BODY/NERVOUS
SYSTEM, THE SPACE, THE AUGMENTED REALITY/RESPONSIVE ARCHITECTURE,
THE GARMENT/WEARABLE, THE SOFTWARE, THE HARDWARE ?
BUT NONE OF THESE ARE MEDIA SPECIFIC AND CLEARLY CATEGORIZABLE, AND
THE RELATION BETWEEN WEARING BODY AND VIDEO IS NOT THE SAME,
NECESSARILY, AS BETWEEN PIANO PLAYER AND KEYBOARD (if you follow
the musical association if 'instrument'). What exactly is an
interface instrument, and can one choreograph with it?
Johannes Birringer
London
