thanks to Richard Povall for adding a bit of clarification on the history of dance technology workshops/conferences and IDATs, it illuminates further the various trajectories of such dance-technology gatherings in North America and Europe, and the impact they must have had. I do find it helpful to know a bit about the history of how the field, or the communities (now we have such cross-overs, it is hard to keep thinking of it as a monolithic or defineable "d & t" affair) constructed itself/themselves, how the practices and the research evolved, and it would be good to have additional information (when did the workshops at ASU start up, how long has OSU been involved and in what areas of this research, since initially I think the interest focused to some extent on notation and on videodance; how did the dance on film and videodance festivals link up with the other prarctices, or did they/in what manner? when did Boston Cyberarts and other digital/computer arts festivals like CYNET (Dresden), or even the larger events such as ars electronica or ISEA or SIGGRAPH involve dance and technology, how did MDF (Moncao) enter the picture after 1999, what are the trajectories in other geographical areas and continents, are these trajectories of interest to us, and to our colleagues in education? For example, i recently tried to remember when I first encountered a workshop that explicitly introduced digital dance or dance-making with software and computer tools (beyond multimedia work with cameras, monitors, film projections)? In my case it was around 1994 or 1995, which is only just about 10 years ago. When did LifeForms come out (1989?), when did we first work with BigEye (I can't remember, I think it was 1995) - and mind you, these are some interactive softwares we now consider ancient and perhaps, to a certain extent, obsolete. What were the artistic milestones, dance works, films, installations, etc, which we remember along these trajectories....... and , now that we are talking about history (and we need to compose a better, up to date bibliography -- and thank you, Scott deLahunta, for sharing your writings with us, the many articles and reports on projects you have wrtitten form a considerable assett), one could add more questions to see how these trajectories we are discussing have entered pedagogy and dance / performance training (or not) --- for example, after 10 years of such history, how many dance schools do you know that include teaching Max/Msp/Jitter and Isadora in their composition classes? Or when dance students study the old tapes (perhaps most schools still use VHS tapes, no?) to analyse choreography -- are they given opportunities to study new dance works that were composed with computer tools, augmented reality, VR or motion capture data, networked/telematic works? are there even any criteria with which to study choreography generated through new software tools? (no mention, almost no mention of such dance works, for example, is made in the fabulous book by Judy Mitoma (with Elizabeth Zimmer, Dale Ann Stieber, eds), Envisioning Dance on Film and Video (New York: Routledge, 2002). But a lot of emphasis on such new work is given in the Anomalie digital_arts series published in France, and perhaps you know of other examples of an emerging literature on these subjects. Finally, as we mentioned dance and science, and the recent cross-disciplinary experiments in dance and neuroscience, how have these trajectories entered education and our schools and research centers? What is happening in such exciting, innovative research "combines" (i like this term, i think Rauschenberg first used it) such as the Hexagram in Montréal? Talking about trajectories, i wonder how the lines and threads were running between Vancouver, Banff, Montréal ? Surely the golden globe award for the most evocative title of a research program goes to Bahia, where Ivani Santanta works: Research Group for Technological Poetics in Dance Laboratory for Advanced Research on the Human Body Dance School University of Bahia, Salvador, Bahia, Brazil regards Johannes Birringer Houston, TX This email is intended solely for the addressee. It may contain private and confidential information. If you are not the intended addressee, please take no action based on it nor show a copy to anyone. In this case, please reply to this email to highlight the error. Opinions and information in this email that do not relate to the official business of Nottingham Trent University shall be understood as neither given nor endorsed by the University. Nottingham Trent University has taken steps to ensure that this email and any attachments are virus-free, but we do advise that the recipient should check that the email and its attachments are actually virus free. This is in keeping with good computing practice.