Accounts of language, languaging, and the construction of knowledge have turned on logic, on semiotics, on information and cybernetics. Can we appeal instead to notions of embodiment and materiality [End Page 439] that do not reduce to these other categories? Scholars such as Katherine Hayles and Mark Hansen have recently emphasized the need to rethink embodiment and materiality in an era saturated with digital media, 2 but attempts to reinterpret such notions have tended to slip back into the semiotic or informatic categories they try to exceed. Questions of gesture and agency in the presence of emerging technologies of performance have cast such notions in sharper relief. Given these concerns, it seems reasonable to expect that an account of gesture and agency informed by some direct experience with sensor technology, real-time systems, and computational media as applied to experimental performance could offer more insight to this inquiry. Moreover, since formal accounts of agency have tended to be framed within the categories of the cognitive, if not the linguistic, it seems that experimental projects with music, time-based visual art, fabric art, and theater would constitute fertile ground for phenomenological study.
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