>the work itself is rooted in the body and in the moment - the
>environment relying entirely on the quality of movement from the performer
>(not merely triggering proscribed responses through invisible, virtual
>triggers). The quality of the movement itself feeds off the environment,
>indeed relies on the environment.
I like what you say about the intrinsic/integral feedback relationship
between performer (in the moment and in the movement) in the environment.
We could perhaps begin to have a new dance theory/vocabulary that builds on
this notion of the "feedback" (which is probably primarily a musical term,
although also used in communication science). I think that would perhaps
change some basic assumptions about how we see choreography or experience
our own relationship to the stage (is your experimentation done with a
"stage" or do you see such work in a different configuraion (as far as
audience assumptions about performance/theatre are concerned). I have
noticed (recently again) that grant agencies [in dance categories] refuse
to accept proposals for installations or computer-integrated circuits.