Electronic stuff . . .

I have finally broken into the Arduino boards I ferried back from Europe. Here is the micro-switch Kalmiba with four thumb-activated switches (to trigger samples, or whatever) and an index finger switch on the right side, currently acting as a register switch to transpose the triggered samples up an octave, or whatever you wish. I need to expand this to include a few more thumb switches, some accelerameters and a few vibrating solenoids. Eventually it will look something like this artist's rendering (below right).
This is all fallout from my Camargo Foundation Fellowship -- moving to the next stage actually. Perhaps I can produce a working prototype in the next six weeks? This way I can schedule a performance soon, which I really need to do before I go nuts -- glitchy stuff perhaps? Then I need to work out all the wireless stuff: bluetooth, wifi, or perhaps some other proprietary spectrum? Here are a few thoughts for a paper I plan to write in the next month or so:

What is a performance system? What does it do and how does it correspond to the artists' intentions? Is the system a constraint, curtailing the performer's improvisations; or, perhaps, is the system the creative force, molded by the actions of the performing artist. Is it, and at what point does/might it become, a collaboration . . . how do we establish this? Finally, what are our requirements for collaboration?

What are our limitations and how do we deploy/employ these limitations? (Stravinsky). How do we attain the 'dichotomy' that Earle Brown speaks of, a point where, as creators, we are both in control as well as out of control. Who, or what, is guiding this journey?

Grid.