It seems that it would be valid to say that the problem of crowd-sourcing or motivating the audience into action is a valid and on-going artistic exploration, as it continues to be a fragile and untouched area, especially in relation to performance and digital technology. Technological interaction and the visual/digital arts is another story.

Admittedly a minor part of the 'Senseless' rehearsal process was dedicated to experimenting with the different ways of engaging an audience in the piece. The main reason being that these kinds of experiments are best done with an audience. Fortunately the 'Senseless' showings ran over two nights, which meant that we could test out varying ways of allowing the audience to play a role in the untangling of the web of 'Senseless'.

On the first night the direction in which this untangling would occur was quite heavily dictated to begin with. The factors in this decision included reaching narrative peaks, not wanting to exhibit two film or sound pieces together and a general feeling that we needed some sort of control over the way in which the audience received the texts, especially as this structure fed into and effected Mitnick's character arch. After the first night it was apparent though that this contrived democracy did not fool the audience.

Therefore, on the second night we decided to let go of control all together. To put all the stories out there and see what would happen. Surprisingly enough, this chaos within the performance structure allowed the audience to feel that they truly were in control.

To heighten this we cut the total of seven stories down to five, leaving the audience wanting more, and as a hopeful act which would insight the audience to go online and view the missing parts of the puzzle.

Now we get to the more complicated problems associated with interaction...Basically to my knowledge, a minimal amount of people went online and a minimal amount of people made comment on the project - online. I can only put out the question as to why and hope someone may be brave enough to have an attempt at answering this. The other thing I can do is to begin to think of ways in which to make the audience can feel more comfortable with interaction.

- Does this involve having a p.c in the foyer so that people can make comment online, and view the other texts straight after the performance?
- Does it also involve changing the ways in which the audience interact with 'Senseless' in the performance space, such as introducing stations in the audience that allow the audience to navigate the program?

There are countless questions or ideas that I could throw into the mix, but ideally I would like to open this out to the public.

- How does one make an 'audience' complicit?
- How does one go beyond artificiality so as to take the audience to the next realm of interaction?
- What would it take for you?