This section lists all the suggestions received from group members according to date of arrival. 
It can be used as a starting point for the discussion.

<blockquote Guy Garnett> aesthetics </blockquote>

<blockquote Johannes Birringer>

• I would be delighted if you were willing to include a slightly stronger

presence of “physical performance/dance experimentation in new media/technologies and interactive designs and online/telematic performance creation” in the wording of your foundational statement, and perhaps the issue of «generally accepted principles and theories relating to…. designing and performing with interactive systems» could be opened up for discussion, since some of us working in experimental media may think differently about the formulation of principles. Above all, however, I wish to express my interest in this venture and in the cross-communications we could achieve, which is most valuable. Many of us in the performance arts work with musicians and composers, not all of us develop our own software but we invent new instruments of expression too. Yet we sometimes are involved in different communities or address different audiences, and there is much to be gained from cross-fertilization, sharing, exchanging. I also want to mention that there are efforts by some of us in the dance-technology area to create brainstorming meetings about connectivity and telematic performance/research (videoconferencing) - an effort that is getting under way at ISA (Arziona State) this December, initiated by John Mitchell. It could open up future possibilities for this Working Group, too, and I will keep you informed and share information. </blockquote>

<blockquote Phil Burk>

• Web based interactive Java Applets using JSyn plugin for synthesis

</blockquote>

<blockquote Roger Dean>

• Computer Interactive Sound and Hypermedia Improvisation

</blockquote>

<blockquote Jennifer Pearce>

• Combining video with sound

</blockquote>

<blockquote Todd Winkler>

• Artistic applications for multimedia performances and installations. Specifically, the use of interactive video with music/sound, dance systems, and issues of audience participation in installation systems.

</blockquote>

<blockquote Martin Gotfrit>

• My own work is now focussed upon music generating software. The key issue is the distillation of the multitude of parameters which the software requires into a few meaningful and expressive controls suitable for a live performance. Also of importance is placing the control of the system somewhere between didactic one-one mapping and more obscure or less perceptible relationships.

</blockquote>

<blockquote Robert Rowe>

• I am attaching the reference list for my new book Machine Musicianship that will appear from the MIT Press later this year. I thought it might be useful for starting a list of resources for this group.

(see the links page) </blockquote>

<blockquote Robert Wechsler>

• Intiate contact with dance community via dance-tech internet group. Set up a site for thematic “overlap” issues such as gesture interface, systems of mapping, sensors and so on. My idea is a site which consists of re-postings only (from the respective interst groups). some discussion has already taken place on this idea.

</blockquote>

<blockquote Arie van Schutterhoef>

• Control of realtime video

<blockquote Johannes Birringer>

• I propose to initiate a discussion on “control and live mix in interactive design environments.” (in the subgroup on dance & technology).

</blockquote>

<blockquote Daniel Oppenheim>

• Bringing interaction into 'off-line composition'

</blockquote>

<blockquote Christopher Dobrian>

• Motion tracking, motion capture, realtime DSP

Comments: 
Working with different systems of motion tracking and motion capture, especially with dance-generated music, including video tracking software such as VNS and BigEye, and the Vicon motion capture system (with realtime capabilities). Affiliations with Cycling '74 (Max and MSP) and Vicon (Vicon 8RT). Interested primarily in exploring aesthetic considerations of using such systems for music performance, and mapping of motion data to parameters of sound structure, musical structure, and formal musical attributes.

<blockquote Robert Mulder>

• Look forward to this group! I would also like to see a (vague) connection to extra musical perception i.e. image, physical, and corporeal gesture.

</blockquote>

<blockquote Joe Paradiso>

• Too many subareas for such a small field - most people will want to overlap several.

</blockquote>

<blockquote Eduardo Reck Miranda>

• I am interested in bio-feedback, involuntary musical interaction.

</blockquote>

<blockquote Patricia Martínez>

• I am an experimental composer from Argentina, I am Co-Director with the coreographe Eugenia Giudice of LA TUNDA. We started of work with Dance-Music-Image and Tecnology, after the Workshop of Palindrome this year in Buenos Aires. We are interested in explorate this artistic field. We would like to become part of the working group, and exchange information and experiences. Thanks.

</blockquote>

<blockquote Mara Helmuth>

• A summary of current projects on the website.

</blockquote>

<blockquote Jean-Jacques Duclaux

• I would be very happy to be able to join this working group. I'm working with sensor and max MSP nato for musical instruments, sonic sculptures and installations. I'd love to share knowledge. 


</blockquote>