ABSTRACT
As an embodied practice, dance comprises a fusion of cultures and practices, but its uidity has been characterized by a dispersed and fractured documented history. Perhaps because it is a heterogeneous practice and the body is the most complex instrument to “write down,” dance has produced few hard copy records of itself. Certainly there are many records of “the body”: from medicine to the visual arts, the body, and its documentation, has played a central role in enriching our understanding and appreciation of the sciences and arts. But none seem yet to have adequately addressed the challenges of capturing the dancing body in ways that ful-l the intention of the choreographers and dancers with respect to the dance. This may be changing. There have been rapid developments in recent years in terms of the intersection between dance and computational processes. Digital dance projects have experimented with new ways to create and remediate dance, to capture the processual aspects of dance making, and to devise new modes of choreography and dance inscriptions.
