The article proposes that the interstitial as an analytical category advances transdisciplinary developments in contemporary choreographic practice. The techniques and conventions of passing, marking, and parsing are described as concomitant agencies that act as notational scores connected to the informatic procedure of writing as dancing. A case study is provided as an example of how gesture, executable code, computational poetics, script, and syntax can endure beyond the performance event as choreographic score and artifact. The novel application of plain text computing, with all its constraints, not ordinarily connected to terpsichorean practices, paradoxically exhibits a nascent realm in which dance-making futures may endure.

This paper addresses the proposition of experiential design approaches in Human Computing Interaction [HCI] and Human Interface Devices [HID]. To amplify the relationship between performer and the spectator when using emergent technologies with real time performance tools, the author refers to a set of self-crafted electronic-performance tools and a performance. This paper opens a pathway for a larger proposal that asks the reader to consider: What are the ways in which we can engineer interfaces that validate the circulation of subjugated knowledges?