Yes, not bad at all, Paul, bringing this up, wonderful!
And the discussion here, though evoking contexts and convergences, has shied away from performance and dance a bit, but I expected that.
Games and dance have converged for some years, not just technically but also content oriented,
if you think of French choreographer Fabien Prioville's "Jailbreak Mind" (2009) - https://www.youtube.com/watch?v=iaWfintqsFU - or other works that choreographically played with game ideas (Xavier Le Roy, etc). In our DAP-Lab performance of UKIYO at Sadler's Wells, in 2010, we also worked/collaborated with Japanese artists and ideas on virtual and SL worlds/spaces and avatars/manga charactars that we projected against/along with the real life dancers.
Wayne McGregor, whose research with digital technologies was exhibited at the Wellcome Trust a short while back, in 2013, under the title: "Thinking with the Body: Mind and Movement",
also deployed an "engine" during the creating process, a software and an artificial intelligence program called ‘the Choreographic Language Agent' (CLA) (developed by Nick Rothwell), and the results of the compositions were
shown in the piece "Atomos" (also premiered at Sadler's Wells).
When I brought up the question of Kinect or Oculus Rift interfaces in my early posting here, I don't think there was a response, so I gathered that real time performance (interfaces) were not so much on the agenda of the discussion; but if one were to seriously look at a wider evolution spectrum in our cultures of conceptual and aesthetic ideas ( design, algorithmic concepts, performance concepts) related to games people play, games people design, then it may be fruitful, and certainly exciting for choreographers/digital artists/sound artists, to widen the discussion or the curatorial vision just a tiny bit. Re: sound, I remember composer Mick Grierson, back in 2006 or thereabouts, designing
a 3D first person multi-player composition and performance environment, "Noisescape," created in Max/Msp/Jitter through the application of physical modeling, games design and audio-visual composition techniques and Grierson created it to demonstrate the potential of 3D environments as a collaborative musical interface. (I trust Johannes Goebel at EMPAC may also have produced other such sonic experiments.......) - would these not also figure interestingly in the projected exposure of various design processes?
For example, another exhibition recently opened in Salzburg, "Simone Forti. Mit dem Körper denken" (Thinking with the Body) – http://www.museumdermoderne.at/de/ausstellungen/aktuell/details/mdm/simone-forti-mit-dem-koerper-denken-eine-retrospektive-in-bewegung/ - and featuring choreographer Simone Forti, her works, movement ideas, and drawings, and as a historical look back to the early postmodern dance of the 60s and 70s, this of course is most interesting as Forti, just like Trisha Brown ("Primary Accumulations"), worked with instructions for movement, rule based compositions that sometimes might be considered close in spirit to game concepts (not that I would have any idea whether Judson Dance Theatre or Forti (who also worked on the West Coast and LA) had any convergence/touch points whatsoever with games designers/programers in California....or whether game designers take a look at what happens in dance or music (what a fabulous "game" scenography Heiner Goebbels cooked up for the current music theatre production of Louis Andriessen's "De Materie" at the Ruhrtriennale !).
I though this may be of interest to this discussion:
'What happens when video games and dance collide? As much as I'd like to announce it, Super Mario at Sadler's Wells isn't happening any time soon – instead, I'm talking about using gaming technology to enhance the creation of new work. It's something 22-year-old Ben Glover explored for his recent project, Interactive Technology in Dance. By using motion sensing gaming device Kinect, Ben recorded the movements and gestures of dancers, turning their jitters and flourishes into mathematically-generated images on a screen behind the performers.'