Although the notion of 'choreography' has not disappeared in the context of contemporary 21st Century performance and virtual art, it has certainly undergone a re-evaluation in terms of how bodily movement/physical intelligence produces data or how performers or immersants engage with an interface environment which is programmable and networked, and how environments instruct moving behaviors.
In examinations of augmented environments (and how these systems perform), a few propositions were made by Birringer and other members of the Interaktionslabor and DAP-Lab since 2006 to paraphrase the notion of the 'post choreographic' --not a new notion in itself -- to emphasize evolving systems behaviors, including physical performer articulations in constant exchange with algorithms and responsive or (semi)autonomous, intelligent audio-visual environments, sensorial flows and hypersensual spaces.
The particular challenges to thinking about 'composition' arise from the real-time synthesis of interface designs-in-motion, based not on choreography but on programming and physical adaptation, which generate “virtual movement” through the digital body-environment interaction.
A lively debate arose in February-March, first on the dance-tech list
and then on Birringer's blogsite
, and back to the dance-tech list. New and provocative discussions have opened up over the past weeks, and it's difficult to keep translating between list and net.
But very valuable insights are being produced, as we all grapple with the "languages" of our practices/theories, and these insights are [and need to be] saved and archived
. We invite more responses from the community here to extend the discourses.