The Performance Projection Paradigm is Natasha’s approach that explores a lacuna in intermedial dance. She argues that for something to be truly intermedial, there must be a two-way ‘conversation’ where both parties can mutually influence what happens. The key contribution of her research lies in the development of a practical methodology for intermedial dance practice, designed to enable a real-time interactive feedback loop between the moving body and projected images. Ingrained in technologies of Extended Realities, this “cyborgian” (Haraway, 1985:65) perspective is in accordance with Donna Haraway’s theory that the technological and the human are inextricably imbricated. Natasha has developed a methodology that focuses on the live interplay between dance and electronic image projection as a co-creative practice.

She argues that existing practices reduce the initiating agency to the performer or technology alone, proposing a one-way interaction. In contrast, her methodology facilitates continuous co-creation, which she analyses in relation to Deleuze & Guattari’s notions of “becoming” (Deleuze and Guattari, 1972:39, 1980:232) and “deterritorialization” (1980:9) and Haraway’s theory of “sympoiesis” (Haraway, 2016:33).

The Performance Projection Paradigm is composed of three connective models: the Shifting Shape System, which uses abstract shapes; the Suggestive Spectrum, concerning colour associations; and the Choice Method, regarding conscious decision-making during improvisation. These models prepare visualists and performer-participants to develop an emerging image interpretation system built on interactive feedback loops between the body and projection. The Performance Projection Paradigm provides an original toolkit consisting of ideal environmental needs, technical set-up, and immersive specifics, to be adopted by practitioners wanting to create intermedial performance.