Thank you so much Robert for your continued report on the Hellerau workshop. I am reading them with much interest. I would really like to have an example or two of the ""feedback-loops where back-and-forths of energy and impulse are achieved" that you concluded were the necessary and often missing link in the effectiveness of the pieces performed. I find it helpful to hear about what you do not mean --e.g "3 pirouettes instead of 2." Can you give examples from your experience of "the small details" that made a difference to you in the ultimate artistic success of the work? I am hungry to get a clearer picture of what you mean. With thanks, Diane In a message dated 8/13/00 6:12:14 AM, robert@palindrome.de writes: << But aren't we then missing the true potential for this kind of work? Which, it seems to me, lies in another direction. Namely, the unique capacity of interactive systems to engage artists and audience in "Rueckkuplungen" -- feedback-loops where back-and-forths of energy and impulse are achieved. This means among other things that the performer must do slightly different things each time the piece is performed. I don't mean that the piece has to be completely improvised, and nor do I mean "3 pirouettes instead of 2." What I am talking about is paying attention to nature of their interactive environment and being sensitive to how it is perceived by the audience. This, I am learning, sometimes depends upon quite small details. >>
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