Here's to noodling!
>Artists like Pauline Oliveros and Deborah Hay (and many others) were
>with these notions in arts labs like the one at Yellow Springs Institute
>(now defunct) in the 70s and 80s. They allowed their musicians and
>and in many instances, audience, to influence the works. For one
>result of such a "collaboration" you could listen to Oliveros' "The Well"
>which she set on the Relache Ensemble (HatHut Records). For one of the
>worst committee-bred works listen to the Yellow River Concerto, composed
>Nixon's first visit to China. I hope others will have better examples for
>you, but these two jump to mind.
>As for dance, I have not seen anything (even in informal improv situations
>that might generate something really dynamic, I'd consider that still the
>"noodling" around stage), that really rings true as "art." It sounds to
>like you are in the noodling stage. But a unique one -- since I presume
>you have an audio/video record of all the audience input. I'm not sure
>you are intending here, or how you see your role. But if you are the
>choreographer, then BE the choreographer. You could take the material you
>are getting as gifts and put them back together in a way that regifts a