This page will allow you to generate your own instructions for performance art pieces in the style of our current exhibit Embodying the Algorithm using GPT-3’s DaVinci model. Each time you refresh this page, a new performance that has been previously generated using GPT-3 will be displayed. If you would like to record and submit your own performance based on one of the generated texts, please see the instructions on our Submissions page.

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Instructions for a performance by GPT-3:

An idea for a movement performance: choreographer and choreographer try talking to each other and are helped by the audience. This performance presents: A) (1) a practical exploration on how to talk through a performance with the audience; (2) a performance displaying the exploration as it is performed with help of the audience, in that the choreographers ‘organise’ the conversation; B) the practice and performance with the audience that turns out to be a demonstration of the inefficacy of the method. A Method for Talking? As the momentum towards a ‘non-written’ dance team creation develops, I conceptualise a movement condition as a basis for an essential communication of the individuals, with which the communication between individuals will come to its essence. As opposed to a preconceived image of the other(s), it should be a basis for a persona-based or situational character. In other words, a tacit understanding of what is shared also creates a possibility of communication. Jarmila Lajcak (1998: 36) states: ‘Interdependence cannot exist without a relation.’ In the process, moving and perceiving become a touchstone of the connection between people. As a movement condition, the use of gestures, body language and emotions (among others) become an essential means of contact. This kind of physical approach is not meant as an experience of the other, but relationships are established through felt-movement of the other(s). An ‘unstable’ movement condition3, i.e. an element of testing, cooperation and distancing are catalysts making a slow performance possible, as similar intention of the ‘other’ is sensed. Unless the movement condition is created through a personal approach, it can only be an – even strong – objectivity. The idea for this chapter began with a problem of language. I started writing this chapter in autumn 2008 and finished it in the autumn of 2009. I struggled with writing this chapter as an interpersonal – and a practical – dialogue that I had wanted to achieve – searching for the possibility of identity. My idea was to write the whole chapter (including the ending) in the personal form, addressing Sasha in the second-person. I found difficulty to focus as I felt that the relationship of expression was unstable, uncomfortable.