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I confess even after I took a typing class, on a real SmithCorona Selectric I will add, finding the home keys was beyond my skills. Please tell me, honestly, if hunt and peck and two finger typing is really my keyboard habit, is this possible for a keyboard novice to attempt?
I think it should definitely be fine for you. The dance only has two moments where you use the keyboard: one to use your shortcut keys zoom in, and then to use the keys to zoom in out again and refresh the page. These movements only require two fingers anyway. The rest of the dance is done on a trackpad (various scrolling movements). Typing habits aren’t a problem at all. And anyway, the dance can be adapted to your own styles and knowledge.
Hope that helps! Let me know if you have any more questions.
Renee Carmichael is an artist, coder, designer and writer whose work explores technology and the relationship between code, content and design. She has created work on themes like carrots and social media, dance and code, The Dance Epidemic of 1518, the web’s relationship to print, OCD and technology, code poetry and IBM anthems. She has a Masters in Interactive Media: Critical Theory and Practice from Goldsmiths College and has worked as a Researcher in the Hybrid Publishing Lab at Leuphana Universität Lüneburg. She is founding director of the project Flee Immediately!, and works freelance on design, research and writing projects.
Joiner – Artist
The browser is the stage, the design the dance floor, the music the rhythms between the codes, browsers, designs, bodies and movements. We are the performers. Constraints are in place, but each dance may be a bit different and each stage (browser) allows for certain possibilities (and errors). The issue is accessed through the temporality of performing (and improvising) it. – Flee Immediately! 02 Editorial
How does design make us dance and move in certain ways? How can we use improvisations online? What is the rhythm of code? If we start to think about how we dance online, do we reveal the power structures at play? If we fragment our swipes, body movements and gestures, will we start to question the technologies we use everyday? And then can we sell these movements? Can gestures be contractual?
These are some of the questions I had in mind when creating both the choreography itself and the idea for this eBay auction. This is part of a larger research into dance and code that has morphed into the links between design, websites, movement and communication. If movement is such an important part of communication, how can we use movement online, a place where we seemingly barely move, to learn to read and think critically again?