hello list(s) and johannes, you suggested that interactive-intermedia performance was 'post choreographic' and asked for thoughts. i should probably begin with a definition of dance and choreography. - 'dance' is movement presented within a performative context, where the derived outcomes, are of equal or greater value than the movement itself. - 'choreography' is the making of structures in which dance occurs. it seems important to include a definition of dance. although i am aware of your past thoughts on 'not dance' they seem at odds with a 'post dance' (derived from your post choreographic). your key points seem to be: dynamic scripts, sensor interfaces, user learning (performing), no steps/phrases. narrative, sensation, cinematic, interactional. is the following a fair overview of your thinking? : post choreographic works create dynamic narratives / abstractions through multi-media and sensor based interfaces. these 'dramaturlogical' systems (and installations) are interactive and do not require set movement phrases (choreography). the 'performers' are users, sending and receiving 'performative' information. prior experience of the interface not required to generate a performance. the user learns the interface as they navigate and experience the work. the rules and structure of the interface may also be modified during, or between performances. the visual and sonic contexts of these work has cinematic aesthetic and is a clear progression from staged dance. i propose that live intermedia works using projection, and screendance are a different category of choreography. they are the post choreographic. i wanted to clarify for myself the implications of what you were suggesting. i understand why you are assuming that position, but do not agree with it. thinking of choreography as 'set steps' is conceptually weak. the jusdon dance theater era demonstrated that choreography was about structure, the content could be set or generative. postmodern-dance also used physical structures (architecture, sculpture etc.) to generate movement from the performers/audience. if i set up tripwires in a corridor you will have to step over them (it is the only exit route), your stepping is the dance, the wire is the choreography. if the tripwires ring bells, we could consider this 'interactive'. we can think of interactive interfaces in the same way, they are structures that generate movement. something must change to trigger a sensor, the precursor to that change is usually movement. the user might move in response to sound or visuals in a functional (hear/see better) or interpretive manner. in all cases the arrangement of hardware/software is the choreography. the composition and improvisation of user/perfromer movement is emergent. the use of post-choreographic might be an implication that the dance is secondary. but that is already covered, « [...] the derived outcomes, are of equal or greater value than the movement itself ». screendance and interactive intermedia work are very different practices. whilst it is tempting to focus on the 'screen' as the site of difference/invention it is only the site presentation. everything that happens before the projection is of greater importance. i would also suggest that interactive intermedia work is not a cinematic aesthetic, but a video art aesthetic. i think that screendance and interactive intermedia take different choreographic approaches. neither practice is post choreographic and both can be (partially) assessed with existing choreological tools. the structural (but extensible & repeatable) nature of the interfaces with the emergent (& dramaturlogical) content points towards neo-structuralism. these practices are not an 'after', they are a revisionist return to existing conceptual frameworks. best matt p.s. when reconstructing performances we must remember that stage performance skills/techniques are very different from those required for screen based work. p.p.s. it seems good to be clear in our writing and thinking about new concepts. not only should it make the work more accessible, but also facilitate more effective/rich theory and artistic practice.