The best makers build their own tools. This claim follows collaboration with expert performers, clinical and disabilities studies, art education research, and acquisition of new skills. I have had the opportunity to work in residencies using advanced tools: real-time systems (1990s), guest editor on biology of cognition and computation, and a nanoscience lab building the "body on the chip." The dual role as a performer (flute) and clinician, in that order, enables me view performance and art-technology in terms art-science.
 

My recent explorations focus on “tools orienting to the biology one brings.” Current projects include neuroscience and performance: (1) etiquette of the hand (topology and hand deformation in string pedagogy); (2) score reading notation system to predict deformation of the violinist’s left hand; and (3) shared physiology in dyads facilitate mobile wearable devices according to mirroring: —> (2nd person). A direct biological interface anticipated by these projects revisits where computation occurs beyond HCI.