This practice-based research focuses on interdisciplinary improvisation: how it is practiced, performed, and perceived as shared experience. Over two years, in dialogue with artists, students, academics, and engineers, musician Quentin Meurisse and dancer Klaas Devos investigate how biometric datafication of their shared practice can render kinesthetic and sonic experience more accessible, insightful, and transferable within training and creation contexts. In doing so, the inquiry responds to a critique of the reliability of knowledge exchange, interpretation, and interconnection between performers and artistic materials in interdisciplinary improvisation. Through biometric interfaces, we render physiological activity (EMG signals) as sonic feedback and enable exchange somatic information within a co-creative site of improvisation.

Methodologically, we propose a framework that links sonic, somatic, and kinesthetic knowledge with technological modes of registration and feedback. In this framework, technologization operates as a material condition that refines instrumental and aesthetic attention, informs reflective processes, and supports interdisciplinary collaboration, pedagogy, and creation in improvisation.

In other words, biodata structures modes of attention, perception, decision-, and meaning-making in group improvisation.

Across the experiments and workshops with students and professionals, the research produces scores for performing arts, software prototypes, an improvisation-composition toolbox, visual-sonic-movement interaction design, and a framework for biodata arts ethical best practices. It thereby contributes to broader conversations on biometric data in artistic context, including storage, traceability, use and reuse, ownership, and authorship.