{"id":270,"date":"2017-10-19T19:36:08","date_gmt":"2017-10-19T19:36:08","guid":{"rendered":"https:\/\/www.critical-stages.org\/16\/?p=270"},"modified":"2023-03-19T10:44:19","modified_gmt":"2023-03-19T10:44:19","slug":"tangible-user-interfaces-in-vocal-performance-the-sounding-body-as-digital-assemblage","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/16\/tangible-user-interfaces-in-vocal-performance-the-sounding-body-as-digital-assemblage\/","title":{"rendered":"Tangible User Interfaces in Vocal Performance: The Sounding Body as Digital Assemblage"},"content":{"rendered":"<p><strong>Gretchen Jude<a href=\"#end\" name=\"back\">*<\/a><\/strong><\/p>\n<blockquote><p>Technology does not meet a body. Instead, the matters, flows, forces and intensities of the corporeal link and connect with other flows and the forces and materials of the technology and different bodily and technological multiplicities are elaborated.<br \/>\n(Currier 2003: 331)<\/p><\/blockquote>\n<p>The development of sensor technology for performance is necessarily understood to be broadly multi-disciplinary and experimental (as well as inherently collaborative, and thus ontologically complex). Yet, the realm of digital sound provides the earliest examples of artists developing such technology for live performance settings. Musicians continue to lead the way in creative uses of electronics onstage, while, at the same time, blurring the lines between performance genres.<\/p>\n<h6>Video 1<\/h6>\n<div style=\"text-align: center; font-size: 12px;\" align=\"center\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/zH6qvx5PSq8?rel=0\" width=\"700\" height=\"393\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\nRSC actors integrating wearable sensor technology in preparation for 2016 production of <em>The Tempest<\/em><\/div>\n<p>In the following, I give an overview of interfaces that have been used in live performance since the 1980s, focusing on experimental uses of digital audio controllers. How do these interfaces imply a move beyond instrumentalization\u2014as something other than a device manipulated by a body to change perceptible parameters? I, then, contrast two ways of analyzing such technology as it is used in stage performance. What are the drawbacks of Donna Haraway\u2019s cyborg trope\u2014the radical apotheosis of the prosthetic model\u2014and how might a Deleuzean assemblage model provide a productive alternative? Finally, engaging a feminist notion of assemblage, I examine a work by Japanese composer Tomomi Adachi. As digital technology promises (or threatens, depending on one\u2019s standpoint) to become increasingly ubiquitous\u2014exemplified by Royal Shakespeare Company\u2019s 2016 mixed reality production of <em>The Tempest<\/em>, which incorporated cutting-edge motion capture and imaging technology<a href=\"#end1\" name=\"back1\"><sup>[1]<\/sup><\/a>\u2014the necessity for analytic lenses to understand such technology also intensifies, for performing artists and critics alike.<\/p>\n<h6>Video 2<\/h6>\n<div style=\"text-align: center; font-size: 12px;\" align=\"center\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/Itexj3leSVw?rel=0\" width=\"700\" height=\"393\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\n\u201cVoice and Infrared Sensor Shirt\u2014ADACHI Tomomi.\u201d Video of live performance with digital controller, 2009<\/div>\n<p>On April 3, 2010, I attended a show at 21 Grand, a now-defunct experimental music venue in Oakland, California, the East Bay of the San Francisco area. Japanese experimental vocalist, composer, sound poet and instrument builder, Tomomi Adachi, was visiting as part of Thingamajigs\u2019 Pacific Exchange Series and performed a riveting improvised set with his Infrared Sensor Shirt. While the show at 21 Grand was not documented, Adachi\u2019s set was similar to (though considerably longer than) a performance video from the same period found on his website.<\/p>\n<p>Adachi enters the space singing eccentrically, as if to himself, and proceeds to put on a headset mic and a pink shirt strung with wires and cables. His voice, now amplified, becomes increasingly strange, as it is processed through the laptop nearby. As he and the shirt move, it becomes clear that the permutations and deformations of Adachi\u2019s voice are not prerecorded but occur in real-time, manipulated live as he wriggles and tweaks. The sounds shift with each gesture, cascading in complex patterns that are nonetheless somehow related to Adachi\u2019s movements within the shirt. The effect is mesmerizing\u2014at turns hilarious, disturbing and visceral.<\/p>\n<p>The Infrared Sensor Shirt, which runs on Max\/MSP<a href=\"#end2\" name=\"back2\"><sup>[2]<\/sup><\/a> software, was designed, developed and constructed by Adachi himself, most intensively between 2004 and 2009.<a href=\"#end3\" name=\"back3\"><sup>[3]<\/sup><\/a> Sensors and switches attached to the shirt are assigned different functions and variables within the digital audio software environment. Adachi\u2019s voice is input through the microphone and digitally processed by Max\/MSP, which is controlled by the performer\u2019s manipulation of the hardware in the shirt\u2014although, as Adachi himself points out, the \u201ccontrol\u201d is far from complete.<a href=\"#end4\" name=\"back4\"><sup>[4]<\/sup><\/a><\/p>\n<p>Since the early 2000s, wearable technology has become an increasingly familiar concept, one recent example being the popular Fitbit fitness tracking device. However, Adachi\u2019s sensor shirt sprang not from the desire to create a wearable interface, but, rather, from a search for more organic relations with his (software) tools, with the aim to \u201cconnect a sound processing techniques (<em>sic<\/em>) with a physical gesture that is accompanied with utterance.\u201d<a href=\"#end5\" name=\"back5\"><sup>[5]<\/sup><\/a> While Adachi\u2019s sensor shirt is, to my knowledge, unique in its form and functionality, there are many glove-like digital controller\/instruments currently in use, each tailored to the aesthetic of the musician who developed it for their use in performance: Laetitia Sonami\u2019s Lady\u2019s Glove (which she first prototyped in 1991 and flamboyantly retired from use in 2014)<a href=\"#end6\" name=\"back6\"><sup>[6]<\/sup><\/a>, as well as more recent examples, such as Pamela Z\u2019s SensorPlay, Franziska Baumann\u2019s Sensorglove<a href=\"#end7\" name=\"back7\"><sup>[7]<\/sup><\/a>, and pop musician Imogen Heap\u2019s Mi.mu<a href=\"#end8\" name=\"back8\"><sup>[8]<\/sup><\/a> glove team.<\/p>\n<figure id=\"attachment_272\" aria-describedby=\"caption-attachment-272\" style=\"width: 700px\" class=\"wp-caption aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"272\" data-permalink=\"https:\/\/www.critical-stages.org\/16\/tangible-user-interfaces-in-vocal-performance-the-sounding-body-as-digital-assemblage\/photo-1-3_1-pzsensor-vejvoda1\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/PHOTO-1-3_1-PZsensor-vejvoda1.jpg?fit=700%2C519&amp;ssl=1\" data-orig-size=\"700,519\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"PHOTO 1 3_1-PZsensor-vejvoda(1)\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Pamela Z with SensorPlay controller. From the artist\u2019s website; photo: Goran Vejvoda&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/PHOTO-1-3_1-PZsensor-vejvoda1.jpg?fit=700%2C519&amp;ssl=1\" class=\"size-full wp-image-272\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/PHOTO-1-3_1-PZsensor-vejvoda1.jpg?resize=700%2C519&#038;ssl=1\" alt=\"\" width=\"700\" height=\"519\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/PHOTO-1-3_1-PZsensor-vejvoda1.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/PHOTO-1-3_1-PZsensor-vejvoda1.jpg?resize=300%2C222&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption id=\"caption-attachment-272\" class=\"wp-caption-text\">Pamela Z with SensorPlay controller. From the artist\u2019s website; photo: Goran Vejvoda<\/figcaption><\/figure>\n<p>Whether due to music\u2019s reliance on performance instruments or due to sound being digitized earlier than video (in the late 1970s as opposed to the mid-1980s, in the case of recording technology), many of the earliest examples of digital performance entail sound-making. Facilitated by affordable integrated circuits, as well as the MIDI (Musical Instrument Digital Interface) protocol, which was standardized by the music industry in 1983, experimental artists had, by the middle of the same decade, independently created rudimentary versions of performance devices and systems which still look and function like those we see today over thirty years later. Henceforth, I examine two early works which typify not only sensor-based digital performance technology but also continuing trends in the branch of computer science known as human-computer interaction (HCI): <em>The Hands<\/em> (version 1, 1984; version 2, 1990; version 3, 2000)<a href=\"#end9\" name=\"back9\"><sup>[9]<\/sup><\/a>, created by composer Michel Waisvisz at Amsterdam\u2019s Studio for Electro-Instrumental Music (STEIM)\u2014the studio which subsequently supported the development of Sonami\u2019s and Baumann\u2019s instruments\u2014and Canadian artist David Rokeby\u2019s <em>Very Nervous System<\/em> interactive installation (developed 1982-1990).<\/p>\n<figure id=\"attachment_273\" aria-describedby=\"caption-attachment-273\" style=\"width: 400px\" class=\"wp-caption aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"273\" data-permalink=\"https:\/\/www.critical-stages.org\/16\/tangible-user-interfaces-in-vocal-performance-the-sounding-body-as-digital-assemblage\/photo-2-3_2-waisviszhands1984\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/PHOTO-2-3_2-WaisviszHands1984.jpg?fit=400%2C549&amp;ssl=1\" data-orig-size=\"400,549\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"PHOTO 2 3_2-WaisviszHands1984\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Michel Waisvisz with The Hands, 1984. From the artist\u2019s website&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/PHOTO-2-3_2-WaisviszHands1984.jpg?fit=400%2C549&amp;ssl=1\" class=\"size-full wp-image-273\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/PHOTO-2-3_2-WaisviszHands1984.jpg?resize=400%2C549&#038;ssl=1\" alt=\"\" width=\"400\" height=\"549\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/PHOTO-2-3_2-WaisviszHands1984.jpg?w=400&amp;ssl=1 400w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/PHOTO-2-3_2-WaisviszHands1984.jpg?resize=219%2C300&amp;ssl=1 219w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><figcaption id=\"caption-attachment-273\" class=\"wp-caption-text\">Michel Waisvisz with <em>The Hands<\/em>, 1984. From the artist\u2019s website<\/figcaption><\/figure>\n<p>Waisvisz started work on <em>The Hands<\/em> immediately after the release of MIDI. Developed by a coalition of synthesizer manufacturers from the USA and Japan, MIDI facilitated the smooth and easy exchange of information between computers and electronic instruments such as synthesizers. For Waisvisz, as for many other artists, MIDI was nothing short of revolutionary: \u201cMIDI suddenly allowed me to think of mini-keyboards, fitted to my hands and littered with various movement sensors to translate hand, arm and finger movements immediately into sounds.\u201d<a href=\"#end10\" name=\"back10\"><sup>[10]<\/sup><\/a> <em>The Hands<\/em>, accordingly, has characteristics of both an acoustic musical instrument played by the action of the player\u2019s fingers, and an algorithmic composition executed by software. From the beginning, digital sensor technology blurred and complicated the ontological bounds of traditional Western musical categories of instrument, composition and performance.<\/p>\n<figure id=\"attachment_274\" aria-describedby=\"caption-attachment-274\" style=\"width: 700px\" class=\"wp-caption aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"274\" data-permalink=\"https:\/\/www.critical-stages.org\/16\/tangible-user-interfaces-in-vocal-performance-the-sounding-body-as-digital-assemblage\/photo-3-3_3-rokebyvns-potsdam19931\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/PHOTO-3-3_3-RokebyVNS-Potsdam19931.jpg?fit=700%2C459&amp;ssl=1\" data-orig-size=\"700,459\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"PHOTO 3 3_3-RokebyVNS-Potsdam1993(1)\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;David Rokeby with Very Nervous System, 1993. From the artist\u2019s website&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/PHOTO-3-3_3-RokebyVNS-Potsdam19931.jpg?fit=700%2C459&amp;ssl=1\" class=\"size-full wp-image-274\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/PHOTO-3-3_3-RokebyVNS-Potsdam19931.jpg?resize=700%2C459&#038;ssl=1\" alt=\"\" width=\"700\" height=\"459\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/PHOTO-3-3_3-RokebyVNS-Potsdam19931.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/PHOTO-3-3_3-RokebyVNS-Potsdam19931.jpg?resize=300%2C197&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption id=\"caption-attachment-274\" class=\"wp-caption-text\">David Rokeby with <em>Very Nervous System<\/em>, 1993. From the artist\u2019s website<\/figcaption><\/figure>\n<p>Trained as an experimental visual artist, David Rokeby nonetheless also used MIDI as a core element of his <em>Very Nervous System<\/em>. However, rather than following the template of musical instrument building<a href=\"#end11\" name=\"back11\"><sup>[11]<\/sup><\/a> like Waisvisz, Rokeby instead conceived of an interactive installation that reconstructed video cameras into rudimentary motion trackers using MIDI to control synthesizers via a computer\u2014a leap of imagination that preceded Microsoft\u2019s Kinect motion-sensing game controller by more than two decades. Thus, unlike <em>The Hands<\/em>, which functioned as an instrument-like device to be \u201cplayed\u201d by a performer in a concert setting, Rokeby\u2019s <em>Very Nervous System<\/em> engaged any passerby who entered the installation space. Audiences of the <em>Very Nervous System<\/em> were invited to themselves <em>cause sound to happen <\/em>with their bodily movements. For Rokeby, this interaction offered nothing short of a mystical experience:<\/p>\n<blockquote><p><em>The active ingredient of the work is its interface. The interface is unusual because it is invisible and very diffuse, occupying a large volume of space, whereas most interfaces are focused and definite. Though diffuse, the interface is vital and strongly textured through time and space. The interface becomes a zone of experience, of multi-dimensional encounter. The language of encounter is initially unclear, but evolves as one explores and experiences. The installation is a complex but quick feedback loop. The feedback is not simply \u201cnegative\u201d or \u201cpositive,\u201d inhibitory or reinforcing; the loop is subject to constant transformation as the elements, human and computer, change in response to each other. The two interpenetrate, until the notion of control is lost and the relationship becomes encounter and involvement. The diffuse, parallel nature of the interaction and the intensity of the interactive feedback loop can produce a state that is almost shamanistic. The self expands (and loses itself) to fill the installation environment, and by implication the world.<\/em><a href=\"#end12\" name=\"back12\"><sup>[12]<\/sup><\/a><\/p><\/blockquote>\n<p>The committee of the Prix Ars Electronica concurred about the merits of <em>Very Nervous System<\/em>, awarding Rokeby the Award of Distinction for Interactive Art in 1991.<\/p>\n<h6>Video 3<\/h6>\n<div style=\"text-align: center; font-size: 12px;\" align=\"center\"><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/17231343?color=aea789&amp;portrait=0\" width=\"700\" height=\"393\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\n<em>Very Nervous System<\/em> (1987 version). Video of dancer Leslie-Ann Coles improvising with David Rokeby\u2019s interactive sound installation<\/div>\n<p>As computing increases in speed and sophistication, becoming central to more and more fields of human activity, computer scientists work to replace the desktop model with more sophisticated models of human computer interaction, such as Tangible User Interfaces (TUIs). Since the mid-1990s, research on TUIs has aimed to develop HCI beyond the so-called WIMP (windows, icons, pointers, menus) interface (Shaer and Hornecker 2009: 7-8). Even though innovation in digital audio control and interactivity preceded the establishment of HCI as a field, research on the design and application of interfaces allows the understanding of patterns beyond the instrumental model provided by those working in the field of music. Reflecting HCI research, I adopt the term TUI to denote devices and systems that \u201crely on embodied interaction, tangible manipulation, physical representation of data, and embeddedness in real space\u201d (Hornecker and Burr 2006: 437). Having common terminology may bridge practice across genres and media, and encourage critical discourse to keep pace with the speed of innovation in the field.<\/p>\n<p>The two early sensor-based works I described above highlight two key aspects of TUI: tangible manipulation and spatial interaction. Seen in this way, devices such as <em>The Hands<\/em>, which the users physically manipulate (usually but not always with the hands), function in an inverse fashion to setups such as <em>Very Nervous System<\/em>, which provide sensor-embedded spaces which users trigger by moving bodily through the installation space. Whereas the former function according to the logic of musical instruments, the latter are now being developed most actively for use in dance performance (both with and without music, as I will touch on at the end of this paper).<\/p>\n<p>Kim and Seifert point out that conceptions of the role of the body in performance lag behind engineering innovations of performance technologies. The notion of the extended instrument, which \u201caugment[s] the control dimensions of a musical instrument by means of interactive computer systems that translate and manipulate input data to output data,\u201d is illustrative of the general discursive construction of digital control devices (2006: 140). Understanding technology as an extension of the body is a hallmark of prosthetic logic.<\/p>\n<p>According to Mills (2012), throughout its development, communications technology has been widely described as prosthetics which augment human capacities; a wearable device, for example, is understood to be extending the power of the user\u2014whether by enhancing their senses (for example, Facebook\u2019s Oculus Rift headset, which purports to immerse wearers in a virtual reality of sight and sound) or by amplifying the power and range of expressive choices in live performance (exemplified by Waisvisz). No sooner does a new device become available, than concern about its social ramifications arises\u2014even erupting into violent controversy, such as assaults of Google Glass headset wearers in San Francisco in 2014. I propose that, while every technological innovation inevitably spawns unforeseeable ripple effects, critiques of the pros and cons of particular devices leave underlying discursive formations unexamined. Forthwith, I present discourse-level analytic frameworks and examine their limitations and uses.<\/p>\n<p>Currier takes aim at the view of technology as prosthesis, asserting that \u201cwhatever permutations arise from a prosthetic encounter between bodies and technologies, they remain bound within the logic of identity or sameness that structures all binary oppositions\u201d (2002: 529). Such a view limits analysis of technology\u2019s effects, since the prosthetic equation relies upon \u201ca self-identical and unified self\u201d as its assumed starting point, to which is added a non-self or \u201c\u2018non-body\u2019 force or entity\u201d (530). Thus, prosthetic logic stymies understanding of anything beyond detachable (technological) modules added to a stable (human) self.<\/p>\n<p>Currier also critiques the influential figure of the feminist cyborg famously articulated by Donna Haraway in 1984, linking the cyborg to the prosthetic model. Currier claims that, although the cyborg is intended to provide an alternative to masculinist and colonialist models of subjectivity, it cannot fully leave behind the logic of identity\u2014precisely because it relies on the prosthetic model (2003: 323). The feminist cyborg, as a hybrid body \u201cat once organic and inorganic, machine and flesh\u201d appears to destabilize and undermine binary logic (322). Yet, the cyborg\u2019s radical edge is blunted by the logical flaw underlying its use as analytic tool: \u201cin order to fabricate the hybrid and intermingled cyborg one must first begin with the discrete component entities which are precisely those elaborated within the logic of identity\u201d (323). In other words, Haraway\u2019s cyborg ultimately reifies the categories of \u201cbody\u201d and \u201ctechnology\u201d as ontologically distinct and stable, since the not-yet-technologized body logically precedes the cyborg\u2019s creation. Thus, the hybrid nature of the cyborg not only ultimately maintains the distinction between human and machine; it also implies a binary opposition between human and cyborg\u2014precisely because, by definition, a hybrid is created from entities that are not itself (323).<\/p>\n<p>Because the discourse of prosthesis holds that technology extends and reshapes the human subject, it cannot escape the logic of identity\u2014and, accordingly, the cyborg ultimately \u201cnegates any possibility of autonomy and difference of technologies\u201d (Currier 2002: 529). Currier proposes the notion of assemblage as an alternative way to analyze and understand humans\u2019 interaction with technology beyond the prosthetic model of \u201cconnection by addition\u201d (531). Unlike the binary categories that comprise both the prosthetic and cyborg models, the elements that make up an assemblage cannot be understood \u201cas unified, stable, or self-identical entities or objects\u201d (531). Thus, elements considered as part of an assemblage resist binarism.<\/p>\n<p>Utilizing assemblage theory in performance analysis entails a shift in focus, from \u201cwhat things are\u201d to \u201cwhat things do\u201d (Currier 2002: 534). Furthermore, since spatio-temporal conditions of varying scales are also part of an assemblage, analysis requires context-specific modes of thinking (2003: 326). \u201cBecoming,\u201d as opposed to \u201cbeing,\u201d also challenges the notion of a fixed or essential self, promoting process-based understandings (333-34). Assemblage theory also necessitates the release of \u201ccertain notions of revolution, utopia and progress\u201d (336)\u2014a relinquishment of teleology.<\/p>\n<p>As Puar insists in her recuperation of intersectionality, social constructionist modes of political engagement can still operate in tandem with assemblage theory, just as we can retain our identities based on experiences of social belonging even as we engage with\/in assemblage theory as a mode of analysis. Consonant with Currier\u2019s shift toward becoming, Puar insists, \u201cidentification is a process; identity is an encounter, an event, an accident . . . multicausal, multidirectional, liminal\u201d (2012: 59). If we keep in mind the fact that \u201cthe construct of the subject is itself already normative\u201d (63), digital performance events come into focus as charged with Massumian significance as \u201csense, value, force\u201d (60)\u2014as affective intensification, as bodies, devices, spaces, energies, institutions and constitutions converge and spark into the weird liveliness of assemblage.<\/p>\n<figure id=\"attachment_275\" aria-describedby=\"caption-attachment-275\" style=\"width: 700px\" class=\"wp-caption aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"275\" data-permalink=\"https:\/\/www.critical-stages.org\/16\/tangible-user-interfaces-in-vocal-performance-the-sounding-body-as-digital-assemblage\/photo-4-3_4-adachisensorshirt\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/PHOTO-4-3_4-AdachiSensorShirt.jpg?fit=700%2C539&amp;ssl=1\" data-orig-size=\"700,539\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"PHOTO 4 3_4-AdachiSensorShirt\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Adachi with Infrared Sensor Shirt, 2009. From the artist\u2019s website&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/PHOTO-4-3_4-AdachiSensorShirt.jpg?fit=700%2C539&amp;ssl=1\" class=\"size-full wp-image-275\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/PHOTO-4-3_4-AdachiSensorShirt.jpg?resize=700%2C539&#038;ssl=1\" alt=\"\" width=\"700\" height=\"539\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/PHOTO-4-3_4-AdachiSensorShirt.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/PHOTO-4-3_4-AdachiSensorShirt.jpg?resize=300%2C231&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption id=\"caption-attachment-275\" class=\"wp-caption-text\">Adachi with Infrared Sensor Shirt, 2009. From the artist\u2019s website<\/figcaption><\/figure>\n<p><strong>Conclusion: Reading Performance through Assemblage Theory<\/strong><\/p>\n<blockquote><p>The energy and impulses of bodies and electronic circuitry combine and find new forms, and they are traversed by flows of light, information, signs, sociality, sexuality, conversation, and contact that give rise to differing meanings, experiences, and configurations of bodies and technologies. (Currier 2002: 535)<\/p>\n<p>The air is charged with possibility. (Jasbir Puar 2012: 61)<\/p><\/blockquote>\n<p>Remembering my experience of Adachi\u2019s 2010 live performance in Oakland, California, as I write this now in the summer heat of 2017 Japan, my understanding of his work shimmers mirage-like, warping through the multiple lenses of my many viewings of videos of his similar (but not the same) performances of the piece. As a critical viewer\/listener, how can I account for the myriad complications of experience afforded by technology\u2014as Adachi and his sensors interface with me and my laptop systems?<\/p>\n<blockquote><p>Tomomi Adachi\u2019s voice, body and electronics blend. Visible and aural gestures connect to sounds that seem to originate from the mouth\u2014but then there are those that are more clearly linked to the twitch of a hand, a hip. Why is the voice so central? Visible bodily movement joins sonic gesture in a perplexing causality. We all see that sound when the pianist pounds the keys, but this player\u2019s digital manipulation of \u201chis own\u201d voice raises the stakes exponentially: Adachi\u2019s very vocalizing underlines the presence of his moving human body as the source of that sound. Yet when that voice is deformed, what is happening to the body that I hear? What is the shape of that throat now, what movement of the tongue produced this glitch, that stutter? The computer seems to breathe, the twinned speakers exhale endless, electric. When visible gesture and audible body are combined, the sound-affect intensifies\u2014and for this very reason, for all the ways that an electronic\/vocal sound can intrude so rudely, viscerally, into my listening body. A voice processed live resists my immediate analysis. As logic retreats blinking, I fall back on tropes of power and control, the familiar human\/prosthesis emerges (my cousin the cyborg), as I flounder to regain stability of my own organic self. The foreignness of the body I see\/hear bears some relation to my sonic experience, even as I remember this Japanese figure as a resident of Berlin, performing in a venue that no longer exists. There are\/were no words accented to configure our Otherness in comfortable lines. Years later, I am sitting in Japan and writing, watching, remembering and it feels like we are lost together, drifting in lightning-charged bursts. Of synapse flashes in time with analog applause.<\/p><\/blockquote>\n<p>My performative writing attempts to realize an expansion of critical language that can account for the augmentations of performance technology. As artists and audiences become increasingly enrapt by TUIs and other digital technologies, we would do well to ask: how such devices\/networks can further our engagement in the critical processes of creation? How are communications technologies even now pivotal to our understanding of ourselves as part of\/distinct from\/in relation to them. (How can it be that even some hands holding iPhones can act like a rock band?<a href=\"#end13\" name=\"back13\"><sup>[13]<\/sup><\/a>)<\/p>\n<h6>Video 4<\/h6>\n<div style=\"text-align: center; font-size: 12px;\" align=\"center\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/6G2H-LUHrtw?rel=0\" width=\"700\" height=\"393\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\n\u201cMubu Funk Scot Share\u2014Atau Tanaka at TedxPantheonSorbonne.\u201d Video demo of Tanaka\u2019s iPhone instrument<\/div>\n<p>Work that links sound and bodies ripples outward, into dance both with and without sound. For instance, a piece by composers Adrian Freed and John MacCallum, in collaboration with choreographer Teona Naccarato, which I saw in progress in 2013 at UC Berkeley\u2019s CNMAT, places the dancer within a Kinect-bounded space; the artists choose movements that shift certain digital sound parameters (or sounds that match certain bodily gestures). The usual creative roles become blurred: is the dancer \u201cplaying\u201d the sound through her movement? Is the composer\/programmer creating an architectural space for the dancer to sound? In contrast, choreographer Yoko Ando drops sound and works directly with digital visualizations of movement, using the wearable sensor system, Reactor for Awareness in Motion, at Japan\u2019s YCAM InterLab. One can only imagine this as the start of a ripple that have the potential to effect all genres of performance in unforeseeable futures.<\/p>\n<h6>Video 5<\/h6>\n<div style=\"text-align: center; font-size: 12px;\" align=\"center\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/MpVNqf_Wu4M?rel=0\" width=\"700\" height=\"393\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\n\u201cX_Duet for dancer and kinect\u201d: Teoma Naccarato rehearsing with interactive sound system developed in collaboration with<br \/>\nAdrian Freed and John MacCallum at Center for New Music and Audio Technologies (CNMAT), University of California, Berkeley (USA)<\/div>\n<h6>Video 6<\/h6>\n<div style=\"text-align: center; font-size: 12px;\" align=\"center\"><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/64771990?color=aea789&amp;portrait=0\" width=\"700\" height=\"393\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\n\u201cReactor for Awareness in Motion (RAM) Yoko Ando with Scene \u2018Line\u2019\u201d: Yoko Ando Joint Research and Development Project<br \/>\nat Yamaguchi Center for Arts and Media (YCAM) InterLab, Yamaguchi (Japan)<\/div>\n<p>In conclusion, innovations in sound performance presage on-stage performances utilizing sensor technology. The combination of \u201cvoice\u201d (as a stand-in for a human body) and \u201cdevice\u201d (digitally manipulated in real-time by the vocalist) creates something beyond the Harawayian cyborg equation of \u201chuman + technology.\u201d Instead, the sounding assemblage implicates a far more complex set of elements and relations, not only:<\/p>\n<p><em>the performer\/composer\/singer,<\/em><\/p>\n<p><em>the player\/hacker\/mover\/dancer,<\/em><\/p>\n<p><em>the listener\/viewer\/interactive-installation-user, <\/em><\/p>\n<p>but also:<\/p>\n<p><em>the programmers who developed the software, <\/em><\/p>\n<p><em>the engineers and factory workers who created the hardware, <\/em><\/p>\n<p>all the way down to:<\/p>\n<p><em>the electrical grid and the humming current that animate the whole system.<\/em><\/p>\n<p>How critics and audiences refocus their understandings of themselves as part of such assemblages will be crucial in years to come, as tangibles, wearables and sensor-laden \u201cmixed reality\u201d spaces become more and more normal(ized). Similarly, artists wrestling with the implications of the more obscure(d) elements of such assemblages will be better equipped to create work that is more than R&amp;D demonstration of devices as (saleable) prosthetic commodities. As the pace of innovation continues to increase, the question of whether and how to extricate ourselves from these quickly-morphing assemblages will fade in importance, as we imagine and enact strategies for facing our own post-cyborg existence.<\/p>\n<hr>\n<p><strong>Endnotes<\/strong><\/p>\n<p style=\"font-size: 13px\">\n<a href=\"#back1\" name=\"end1\">[1]<\/a> An expensive production which received mixed reviews; for example, J. Wakefield\u2019s analysis at: <a href=\"http:\/\/www.bbc.com\/news\/technology-38000619\" target=\"_blank\" rel=\"noopener\">http:\/\/www.bbc.com\/news\/technology-38000619<\/a>.<br \/>\n<a href=\"#back2\" name=\"end2\">[2]<\/a> The most recent update of this visual programming language is known as Max 7. For more details, visit: <a href=\"https:\/\/cycling74.com\/products\/max\/\" target=\"_blank\" rel=\"noopener\">https:\/\/cycling74.com\/products\/max\/<\/a>.<br \/>\n<a href=\"#back3\" name=\"end3\">[3]<\/a> Although in an email interview (October 28, 2016), Adachi told me that a recent improvement to the work allows the shirt to be washed.<br \/>\n<a href=\"#back4\" name=\"end4\">[4]<\/a> Email to the author, October 28, 2016.<br \/>\n<a href=\"#back5\" name=\"end5\">[5]<\/a> Full statement by artist may be found at: <a href=\"http:\/\/www.adachitomomi.com\/n\/activities.html\" target=\"_blank\" rel=\"noopener\">http:\/\/www.adachitomomi.com\/n\/activities.html<\/a><br \/>\n<a href=\"#back6\" name=\"end6\">[6]<\/a> <a href=\"http:\/\/sonami.net\/writing-goldsmith\/\" target=\"_blank\" rel=\"noopener\">http:\/\/sonami.net\/writing-goldsmith\/<\/a>.<br \/>\n<a href=\"#back7\" name=\"end7\">[7]<\/a> <a href=\"http:\/\/www.franziskabaumann.ch\/en\/sound_projects\/sensorglove\" target=\"_blank\" rel=\"noopener\">http:\/\/www.franziskabaumann.ch\/en\/sound_projects\/sensorglove<\/a>.<br \/>\n<a href=\"#back8\" name=\"end8\">[8]<\/a> <a href=\"http:\/\/mimugloves.com\/\" target=\"_blank\" rel=\"noopener\">http:\/\/mimugloves.com\/<\/a>.<br \/>\n<a href=\"#back9\" name=\"end9\">[9]<\/a> For more on the development of this work, see Torre, Andersen and Bald\u00e8 (2016).<br \/>\n<a href=\"#back10\" name=\"end10\">[10]<\/a> Full statement by artist may be found at: <a href=\"http:\/\/www.crackle.org\/TheHands.htm\" target=\"_blank\" rel=\"noopener\">http:\/\/www.crackle.org\/TheHands.htm<\/a>.<br \/>\n<a href=\"#back11\" name=\"end11\">[11]<\/a> Cf. Tanaka (2000).<br \/>\n<a href=\"#back12\" name=\"end12\">[12]<\/a> Full statement by artist may be found at: <a href=\"http:\/\/www.davidrokeby.com\/vns.html\" target=\"_blank\" rel=\"noopener\">http:\/\/www.davidrokeby.com\/vns.html<\/a>.<br \/>\n<a href=\"#back13\" name=\"end13\">[13]<\/a> For more information, visit: <a href=\"http:\/\/www.ataut.net\/site\/adam-atau-4-hands-iphone\" target=\"_blank\" rel=\"noopener\">http:\/\/www.ataut.net\/site\/adam-atau-4-hands-iphone<\/a>.<\/p>\n<hr>\n<p><strong>Works Cited<\/strong><\/p>\n<p class=\"hangingindent\">Currier, Dianne. \u201cAssembling Bodies in Cyberspace: Technologies, Bodies and Sexual Difference.\u201d <em>Reload: Rethinking<\/em> <em>Women + Cyberculture<\/em>. Ed. Mary Flanagan and Austin Booth. Cambridge, MA: MIT Press, 2002. 519-38.<\/p>\n<p class=\"hangingindent\">&#8212;. \u201cFeminist Technological Futures: Deleuze and Body\/Technology Assemblages.\u201d <em>Feminist Theory<\/em> 4.3 (2003): 321-38.<\/p>\n<p class=\"hangingindent\">Hornecker, Eva, and Jacob Burr. \u201cGetting a Grip on Tangible Interaction: A Framework on Physical Space and Social Interaction.\u201d <em>Proceedings of the SIGCHI<\/em> <em>Conference on Human Factors in Computing Systems<\/em>. 2006. 437-46.<\/p>\n<p class=\"hangingindent\">Kim, Jin Hyun, and Uwe Seifert. \u201cEmbodiment: The Body in Algorithmic Sound Generation.\u201d <em>Contemporary Music Review<\/em> 25.1-2 (2006): 139-49.<\/p>\n<p class=\"hangingindent\">Mills, Mara. \u201cMedia and Prosthesis: The Vocoder, the Artificial Larynx, and the History of Signal Processing.\u201d <em>Qui Parle: Critical Humanities and Social Sciences<\/em> 21.1 (2012): 107-49.<\/p>\n<p class=\"hangingindent\">Puar, Jasbir. \u201c\u2018I Would Rather Be a Cyborg Than a Goddess\u2019: Becoming Intersectional in Assemblage Theory.\u201d <em>philoSOPHIA<\/em> 2.1 (2012): 49-66.<\/p>\n<p class=\"hangingindent\">Shaer, Orit, and Eva Hornecker. \u201cTangible User Interfaces: Past, Present, and Future Directions.\u201d <em>Foundations and Trends in Human-Computer Interaction<\/em> 3.1-2 (2009): 1-137.<\/p>\n<p class=\"hangingindent\">Tanaka, Atau. \u201cMusic Performance Practice on Sensor-based Instruments.\u201d <em>Trends in Gestural Control of Music.<\/em> Ed. Marcelo M. Wanderley and Marc Battier. Paris: Ircam\u2013Centre Pompidou, 2000. 389-406.<\/p>\n<p class=\"hangingindent\">Torre, Giuseppe, Kristina Andersen and Frank Bald\u00e8. \u201cThe Hands: The Making of a Digital Musical Instrument.\u201d <em>Computer Music Journal<\/em> 40.2 (2016): 22-34.<\/p>\n<hr>\n<p><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"271\" data-permalink=\"https:\/\/www.critical-stages.org\/16\/tangible-user-interfaces-in-vocal-performance-the-sounding-body-as-digital-assemblage\/gretchen-jude\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Gretchen-Jude.jpg?fit=300%2C300&amp;ssl=1\" data-orig-size=\"300,300\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1484044931&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Gretchen Jude\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Gretchen-Jude.jpg?fit=300%2C300&amp;ssl=1\" class=\"alignnone size-thumbnail wp-image-271\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Gretchen-Jude.jpg?resize=150%2C150&#038;ssl=1\" alt=\"\" width=\"150\" height=\"150\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Gretchen-Jude.jpg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Gretchen-Jude.jpg?resize=270%2C270&amp;ssl=1 270w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Gretchen-Jude.jpg?w=300&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Gretchen-Jude.jpg?resize=230%2C230&amp;ssl=1 230w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><a name=\"end\"><\/a><\/p>\n<p><a href=\"#back\" name=\"end\">*<\/a><strong>Gretchen Jude<\/strong> is a scholar and performing artist, and a Ph.D. candidate in Performance Studies at the University of California Davis. Her dissertation engages with intersections of voice and audio technology in Japanese experimental and popular music. She also holds an M.F.A. in Electronic Music and Recording Media from Mills College, as well as <em>koto<\/em> certification from the Sawai Koto Institute in Tokyo. Gretchen\u2019s M.F.A. thesis was a live performance with a gestural controller for use with Japanese <em>koto<\/em> zither that she designed, built and played. In both her academic work and in her performance research, Gretchen aims to synthesize and harmonize personal, embodied experience with the rapid changes in culture and machinery that both empower and impinge upon us.<\/p>\n<p style=\"text-align: center; font-size: 14px;\">Copyright <strong>\u00a9<\/strong> 2017 Gretchen Jude<br \/>\n<em>Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n<p style=\"text-align: center;\"><a href=\"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/\" target=\"_blank\" rel=\"noopener\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/wp-content\/uploads\/2021\/03\/88x31.png?resize=88%2C31&#038;ssl=1\" alt=\"\" width=\"88\" height=\"31\"><\/a><\/p>\n<p style=\"text-align: center; font-size: 14px;\">This work is licensed under the<br \/>\nCreative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Gretchen Jude* Technology does not meet a body. Instead, the matters, flows, forces and intensities of the corporeal link and connect with other flows and the forces and materials of the technology and different bodily and technological multiplicities are elaborated.<\/p>\n","protected":false},"author":1,"featured_media":1326,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[2],"tags":[42],"class_list":["post-270","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-special-topic","tag-by-gretchen-jude","","tg-column-two"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/featured.jpg?fit=700%2C414&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9iUM2-4m","jetpack_likes_enabled":false,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/posts\/270","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/comments?post=270"}],"version-history":[{"count":4,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/posts\/270\/revisions"}],"predecessor-version":[{"id":1468,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/posts\/270\/revisions\/1468"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/media\/1326"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/media?parent=270"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/categories?post=270"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/tags?post=270"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}