dear all: many thanks to the "curators" for their last, and very significant posting. You raise so many fascinating points that one will need to respond carefully, and perhaps in increments. I applaud the level of discussion which has been achieved through these posts, and the very productive critical framework you propose. Before going into detail, in later postings, i was wondering why we have not actually used such new critical frameworks and terminologies to look at performances and works produced in the last few years, in the dance world or in the dance-tech/perf.-tech world, or , let me ask [... looking at the exemplars you give -- steve paxton, trisha brown, douglas dunn, yvonne rainer), why don't we use the opportunity now to look at contemporary works, such as Forsythe's "3 Atmospheric Studies", T.Brown's "How Long Does the Subject Linger on the Edge of the Volume", Carol Brown's Sea "UnSea" , T.Ranch's " 16 (R)evolutions", Jaychandran Palazhy's "Purushartha", or hybrid pieces by Tania Fraga, Ivani Santana, Dumb Type, Pablo Ventura, and many others, installations or screen-based dance works / net -based dance works, animation works, or works we consider significant in our context (produced over the last 10 years), and find out how we can debate their contributions and the techniques of performance-making we have discovered in them? (I posted the essay on Forsythe to see whether someone wanted to pick up any of the intriguing commentaries on composition and layering) regards Johannes Birringer From: dance-tech-bounce@xxxxxxxxxxxxx on behalf of curators - Sent: Sun 10/22/2006 1 Subject: [dance-tech] Re: Sensordance/ improvised / computational / conceptual >>>...[...] In our initial categorisation we specified that computational modes of composition we generative. What we failed to make clear is that we were referring to specific algorithmic techniques. We consider all modes of composition to be generative (movement producing) in nature and thus remove the term from the description. conceptual has been revised and choreographed [5] added: # improvised ~ emergent, adaptive. # computational ~ procedural, algorithmic. # conceptual ~ linear, perfunctory. # choreographed ~ structural, semiotic. For completeness: # improvised: goldberg variations (steve paxton) # computational: accumulation (trisha brown) # conceptual: 101 (douglas dunn) # choreographed: trio a (yvonne rainer) The performative input of conceptual dance is not mode exclusive, but dependent on initial concept, and the (directly) subsequent ideas of the artist