FOR A METODOLOGY OF CROSSROAD TRANSFORMATION BETWEEN SOMATIC EDUCATION AND THE TECNOLOGY: BECOMING ANOTHER…

Abstract

This article presents an overview of the motivations behind my artistic approach and a description of current research. My artistic process aims at a transformation of the body based on tactile, kinesthetic and experiential references. It takes the experiential as its raw material. This process inevitably opens up alternative gestural codes, performative modes and behaviours. As a result, it is possible to consider a new relationship between somatics and technology capable of engendering new aesthetic, cognitive and communicational paradigms. Here, technology activates a process that reconfigures sensory-perceptual activity and leads to a change of corporality (corporalité) that in turn generates corporeality (corporéité). This dynamic is based on developing a notion of corporeal potentiality - or interval - and introduces the notion of emergence through which an eventual organization of a new experiential form in the performing arts can appear. Christine Buci-Glucksmann speaks of the interval as the equivalent of the Japanese term Mâ (2003: 89), explaining it as a latent potentiality present within the virtual. I argue that the virtual is part of the physical body and show how these concepts can be linked as the foundations of a methodology which I have developed with dancers. This methodology is one of an evolutive nature and is based on strategies of destabilisation of three components of somatics that I have experimented with in order to recreate what Hubert Godard calls ‘an ever fluctuating real’ (Godard in Kuypers 2006: 60).