Cyberdance: An Infactitive Work of Art 

The elaboration of cyberdance has as its foundation and basis a combinatory art: a metaphor of dance with all its potentiality, however with a frightening scope of possibilities, which can pose a problem. The work of art which develops and creates a high degree of complexity, becomes from the production point of view, something quite of an impossibility to accomplish, thus, means had to be elaborated to overcome this impasse.  

Three aspects were taken into consideration in order to acheive this: First, an elaboration of a strategy for the production of the infactitive work; Second, the aspect pertaining to the work as a result of its indetermination and its infactibility, and finally, the action of the navigator through the work and his participative interaction. 

In the strategy for the production of the work of art, three tactics were developed with the purpose of attaining its total complexity: 1) The tactic of the network consisted in establishing a relation of one part with the other parts of the work, which led to a complete relation between them, that is, all are linked amongst themselves in such a way that one can move from one to the other inside the work. The advantage of this complete connection is that with only a few elements, a high degree of complexity can be achieved where the problem of infactivity can be solved; 2) the strategy of multiple navigation was sketched starting from the simultaneity of the parts and to develop it, a connection was invented which was named condisjunction or multi-junction, which acts simultaneously as a conjunction and a disjunction. A disjunctive connection is that which normally takes us from one position to another inside the chain, starting from a previous choice, thus causing two outcomes: a connection and a disconnection of the part the navigator found himself previously; the conjunctive connection takes to the main position another part, another layer, another window, adding information without leaving the main position; however in the condisjunctive connection, again we have a connection and a disconnection, but not in linear fashion; we do not navigate merely in successive form, but simultaneouly, thus causing a transformation of the main window, as it transforms and establishes a new distribution of the main window, creating a navigation of multiple courses, in which each has it own navigation, and at each moment when penetrating the work of art, there is an increase of complexity in the navigation: Squadron navigation, in convoy and in caravan or potential navigation. 3) this fact caused the strategy of a complete interaction or reciprocal interaction of all the parts, since each part as well as each element could now interact, that is, this was only possible with the condisjuntive connection, which made possible the simultaneity and the presence of the part of the work thus creating a complete interaction. 

In this way, the work becomes limitless, since it is impossible to perceive its dimension, as well as the quantitities of combinations involved, unless done mathematically through an exponential, which does not solve the problem, since it continues to the perception of the navigator to have no defined limit, therefore without end or beginning. It also has various entries, where each entry can be configured differently, as in a labyrinth where each entry reconfigures its routes. Thus it is more a mobile multiplicity of courses than an architecture of fixed routes. There is also a flexibility of its parts which is an open component that the parts can have between them, and in such a way distributed amongst themselves that their mutual contact can cause differentials and new distributions, which many times leads to difficulties that need new solutions. Another factor and maybe the most important is its infactibility since it is considered diacronically and cannot be defined since the number of parts and combination involved do not make it completely feasible. However it is this infactibility which permits that the work is always re-invented, that is, it can evolve.  

The work in relation to the navigator is considered as interaction, however not a mechanical interaction, in which the parts involved react merely to a determined action, it is thought of as a participating and inventive interaction which consists in the navigator establishing rules freely, that is, they are not given "a priori". Each navigator can thus establish new behaviours, as well as create his own style through micro variations. 

Let us also imagine that the works thus elaborated could communicate and interact with other works of the same type, which would cause modifications in the internal elements, making them more complex and unpredictable, nevertheless, more transmutable; a variety of elements depending on the interaction of other works. 

We live in a time in which, more and more, the cyberartists, through the technological potential are facing the problem of how to construct the world. The lesson to be learned is that to invent the world is to invent it totally incomplete, in other words, to do it infactitively. 

  Ricardo Barreto