@maxine When you wrote "performer as content provider" a flash of recognition went off in my head, because I assume that myself as a performer, or my dancers are performer are generative, creating content in the moment. And then I went down this rabbit hole asking when is a performer NOT a content provider?

• How do you bridge the flat online visuals to 3-dimensional understanding? Is this question similar to asking a performer or creator how do you bridge working in a traditional proscenium setting to a performance in the round? Or viewed from above?

@maxine Prior knowledge may be a subset of intuition, or prior knowledge can manifest or exhibit itself as a "gut feeling".? Less efficient could= more creative if the artist isn't burdened by the stress of unknowing

@maxine Sorry I don't! I kind of go stream of conscious when I teach like that. And I'm definitely in a "state"

what does a deeper perceptual realm mean?

Not starting from scratch because we never start from scratch. The ideas come from the same source, but the actualization of it is changed. I could see that if this mode(s) of creation were part of a regular practice, it could feel more "natural". There is so much experimentation needed to get what you want because we don't have all the prior knowledge we've accumulated about dance in a theatre (or site). We're very efficient in dance and this new way of working makes efficiency less....efficient.

I didn't try to filter the room, just the rooms outside where I was zooming from. I found short rehearsals worked better. I set tasks for dancers off camera, and then they would show what they did on camera (like phrases). How the material was shaped later depended on how it was to be performed. I found it really necessary to develop the material in the format it was to be performed in. If it was a zoom performance, we worked in those windows. If it was material to be recorded, I saved working on it til we were actually filming it.

Yah!!

@maxine Communicating sensation..I describe my sensations, but also lead them to discovering their own sensations. I'm not sure what was most effective. I think what worked the best was to take the time to get them into that feeling-sense place.

@maxine I started to respond and then it disappeared! Somatic base of my knowledge. We experience with our bodies. We interface with the world through our bodies, it is our sensorium. It is the site of knowledge, enquiry and communication. (Can you tell I recently gave a workshop on embodied research?😂)

Liveness is a BIG topic ! There has been a lot written about liveness or the perception of liveness in the digital age. Most of what I have come across in my cursory research has related to music. The "traditional performance paradigm" as researcher Paul Sanden notes, is " performers communicating musically in a with an audience in a shared time and place". I believe we could insert dance here as well. The necessity of online performances this past year has, for me, really expanded my notions of "shared time and place". (I'm basically rephrasing what Max is asking in her questions above). So beyond the traditional performance paradigm, we have many shades of liveness. Here is a quote from Paul Sanden's article "Rethinking Liveness in the Digital Age" that has me mulling... "liveness functions as an index of humanness; as a recognition of human creativity and production, and of our human selves, within the context of our constant negotiation with the technologies we create and employ."

When I was teaching online I felt that was at my best when I focused on the somatic base of my knowledge. While I did my best with demonstrating exercises (camera pointed in the right direction, verbal instruction) I feel that that was just the first step in learning. Once I could connect with sensation, and then communicate finding sensation with the students, I could deepen the knowledge exchange process. I think...The only way I could tell if they were receiving knowledge is by discussion after the fact or by viewing them individually. As Lo says, eyes got bigger but that was because you can't see as much through a screen as in person.

I have been trusting that the performance techniques I used in the live performance and for dance screen work still work for energizing online movement. Sometimes the attention is tuned towards inhabiting the moment fully, sometimes there is an additional awareness of what the audience/witness is experiencing. This all takes a lot of practice