In the first two chapters of Cris Crawford's book "The Art of Interactive Design" he states very clearly that dance IS NOT an interactive activity, not with the music at least, if anything it is an iteraction amongst dancers.
I dance, I'm not a dancer as I failed developing a career in dance but I dance. This means two things (nothing that has to do with my body structure)
A. I can appreciate music for its rythm
B. Dance brings me closer to myself and others
C. Ok and I have slightly crooked feet but lets forget about that.
Before I break into a rant lets re-focus the attention in the previous excerpt (of what I think is a marvelous film "La cite des enfant perdus") that is a choreography, hence it is a dance, music-less but a dance. Now lets imagine it wasn't a choreography. Lets further the possibilities and imagine not only it is not a choreography what we are looking at but else one of those ladies is actually a computer responding to the human's comands (transmited in the form of taste, pressure, movement, sight and smell) and responding to them.
Bret Victor suggest imagining such insteractions as the future interactions -and consecuently uses the example of making breakfast as a great exploration enviroment to imagine said futures- ones that magnify our capabilities, that respond to what we take for intuitive tasks perhaphs...
Some thoughts as to what might lead us there:
- Experiential futures. Stuart Candy introduced me to this notion and I reckon Pcomp class will be where we get to build them.
- Further explorations of the innovations and experimentation Bret Victor suggests through his rant and in his Answers apendix to it.
- As designers/inventors/makers, a clearer understanding of the importance of LISTEN, THINK, SPEAK within interactivity. And sustaining within the premises of our work the idea of achieving an Active Direct Involvement rather than just a demonstration or display.
- Observing. While Chris Crawford clearly evolved the argument of how much of an interaction the refrigerator swich is (from rendering it a ZERO interaction to a mild interaction) he failed at calling DANCE as a whole none interactive and just a mere participation.
Well Mr Crawford, you try to dance Kitri's variation falling into time with no mistakes towards a CD, it is impossible, even if you ever came close to being a Zakharova. What prima ballerinas achieve on stage has to do to a delicate built interaction between them and the orchestras' conductor and musicians...ballerina and orchestra rehearse many times so the musicians understand the ballerina's movements, gestures, rythm and on the day of the performance they can modulate their interpretation to what she is showcasing.
So lets dance, through our everyday routine and see how our choreography may inform future interactions.