contemporary choreography & somatic movement: creative projects as a radical critical practice of the prosodic body
contemporary dancer: lula amir. performing with CEREUS. villaneueva del rosario, malaga, spain (2024). An interlude in our sound performance, using a microphone and stand placed in the sweet spot of a spatial 3D surround-sound system, we generated acoustic noise, effects and affect/tension of the performer moving around the microphone and audience.
(coreografía contemporánea y proyectos creativos de movimiento somático como una práctica crítica y radical del cuerpo prosódico)
'Dismetropsia' es un espacio atmosférico, sonoro y lumínico creado de forma específica para el jardín de La Térmica, donde podremos disfrutar de una instalación sonora que conjuga el canto de los pájaros de la zona con música electrónica, y el sonido de los cuerpos. Cristina Savage y La Chachi crearán una serie de acciones donde el cuerpo vibra con el cantar de los pájaros, y donde el sonido diseñado por Juliana España Keller será amplificado para abrazar este espacio.
Durante nuestra performance, esperamos centrarnos y desarrollar una comprensión de la estructura interna del cuerpo en relación con la vida vegetal y la compleja interacción entre todos los sistemas (nervioso, vascular, digestivo, endocrino, emocional y psicológico) de la relación cuerpo/mente. Esta investigación con sonido electrónico y performance corporal se desarrollará con el deseo de encontrar un lenguaje performativo en relación con el lenguaje de la bioacústica.
'Dismetropsia' is an atmospheric, immersive acoustic space created specifically for the garden of La Térmica, Malaga, Spain, where the participants collaborated in a multi-media sound installation that combined the captured recordings of birds in the area, sounds recorded with plants with and the language of multiple bodies in a complex choreography that focused on the prosodic body.
Cristina Savage and La Chachi performed a series of actions where the body vibrated and moved within this acoustic ecology, and where the electroacoustic tracks and microtonal harmonies designed by Juliana España Keller amplified the periphery of this natural space as an acoustic ecology.
During the performance, an understanding of the internal structure of the body in relation to plant life and the complex interaction between all the systems (nervous, vascular, digestive, endocrine, emotional and psychological) of the body/mind relationship were performed. This research in electronic sound and body performance was developed with the desire to find a performative language in relation to the spatial architecture of bioacoustics.
points of contact// the prosodic body
CEREUS is collecting data for a new audio-visual immersive art installation.
Nea Livera, Expanded Spaces Artist Residency, AADK Greece *2024.
By acknowledging ontologically that cosmopolitics brings into relation different practices, practitioners, and the non-human (they assemble in a field of forces and intensities), we argue that there is no sovereign power under which all modes of existence can be organized, and there is no meta-language through which one can master the diversity of all discursive or material practices; but there are intra-relations in which one can get lost in a quantum field of sonic matter and modalities by moving into the cracks of the sensorium and the plant biosphere, which includes other non-human voices.
Image: field work snapshot for a visual mapping of the body and points of contact within the natural world. contemporary dancer: manos kotsaris (2024)
Prosody can be applied as the sound of language (intonation, pause, cadence, pitch) and the expressive, musical aspect of language as distinct from its literality. It is an aspect of language that communicates more than words can say (the implied, tacit, evoked, unsaid and unsayable). So far, I have started to explore and develop a spatial AI assisted language as a vibratory and sensory medium.
I have engaged in a process of observing, listening and creating a drawing a day as a graphic notational score and situated cartography as I interact with the human-non-human. Here in Greek landscape. At night, I listen to the local jackals' as they commune and hunt. Their voices provide a hauntological backdrop for agential relations and speculative thinking.
