Saira Virous : Game Choreography in Multiplayer Online Performance Spaces

✲ Johannes Birringer concerns the dance which has moved into the telematic, networked terrain and shares the digital design technologies that underlie the creation of artificial environments. Performance interactivity refers to all programmed environments in which the interaction is emergent, dynamic; the interactive relationship generally involves the control of digital image and sound generation or animation, the mutation of media forms. There are various types of interactive environments; 1) sensory environment based on sensors or motion tracking and an evolving dialectic between artificial world and human agents 2) immersive environments which is virtual reality-based 3) networked environments allowing users to experience a dispersed body and to interact with tracts of other remote bodies, avatars and prostheses 4) derived environments which is motion-capture-based re-animations of bodily movement or liquid architecture 5) mixed reality environments which can be mixed with various types. The cultural and artistic rhetoric surrounding interactivity has been high-mined and often misleading. The myth of participation has to be measured against the notion of 'pleasure' that is used by games analysts who argue that genuine interactivity needs to meet some conditions for successful play and an increasing attachment to a game. A computer game can be described as ' a rule-based formal system with a variable and quantifiable outcome'. The immersive quality of gaming resides in the player activity. The telematic pleasure is based on very similar processes of socialisation and self-organisation. The plasticity in the telematic architecture distinctly intertwines numerous agencies along with the responding stream and the fluid images generated by the partner sites.