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Advance publicity for Choini\u00e8re’s latest production, Flesh Waves,<\/em> promotes the work as \u00ab digital dance \u00bb; however, here, no virtual bodies are to be seen floating around on screens or a backdrop, nor are spectators invited to interact with digital avatars. Seated around the periphery of a six-meter wide circular stage occupied by five almost entirely nude female dancers, audience members become unwittingly enmeshed in an unusual, even provocative, immersive experience of a sensual, experiential nature.<\/p>\n\n\n\n Echoing Maurice Merleau-Ponty’s vision\u00a0(Merleau-Ponty, 1945)\u00a0of being in the world as a constant exchange between the sensing body and all that is external to it,\u00a0Flesh Waves<\/em>\u00a0integrates technology as an exteroceptive agency stimulating new sensory-perceptual activity and expressive potentialities, and in parallel, as a means to amplify a somatic exchange of real bodies-to-bodies: amongst the dancers onstage, and between performers and spectators.<\/p>\n\n\n\n Today, neuroscience confirms that if perceptual experience\u00a0depends on sensory perceptors\u00a0\u2013\u00a0each with specific functions that allow humans to register different sensations\u00a0\u2013\u00a0no single type of sensor is ever active at any given time, and further, that if necessary,\u00a0one sense can step in for, or replace, another form of sensory input1<\/sup>. A similar condition of interconnection and interdependency of the senses is revealed through the phenomenon of synaesthesia \u2013 another form of sensory substitution \u2013 in which stimulation of one sense or cognitive pathway triggers involuntary sensations in a second sensory organ or cognitive pathway. In the performing arts, this phenomenon \u2013 whether constituting an intended aesthetic strategy or not \u2013 commonly plays out as a form of haptic touch or kinaesthetic empathy wherein touch, or alternately, the embodied quality of movement, can be communicated and understood by spectators vicariously, physically, through the senses of sight and sound.<\/p>\n\n\n\n In creating the conditions and a specific mediated environment for establishing an empathic sensory relationship of bodies-to-bodies, lsabelle Choini\u00e8re develops strategies that both deflect the cognitive act seeking to identify a pure choreographic form or narrative mode, and temper, if not neutralize, the voyeuristic or eroticized gaze between subject and object. Proposing a\u00a0\u00ab\u00a0communion\u00a0\u00bb\u00a0of a\u00a0\u00ab\u00a0vibratory\u00a0\u00bb\u00a0nature, or what she defines as an\u00a0\u00ab\u00a0interfaced intercorporeality\u00a0\u00bb\u00a0(Choini\u00e8re, 2013), she aims to install what various theorists\u00a0(Sheets-Johnstone\u00a01990,\u00a0Shusterman2009,\u00a0Formis\u00a02009)2<\/sup>\u00a0have called\u00a0\u00ab\u00a0le penser en corps<\/em>\u00a0\u00bb: thinking through the body.\u00a0Staging the female body as both a subject and abstract expression of the flesh in all its volume(s), sensuality and excess, Choini\u00e8re invites spectators to engage\u00a0in\u00a0a mode of relational seeing which draws upon and also\u00a0\u00ab\u00a0touches\u00a0\u00bb\u00a0the viewer’s somatic sensibility3<\/sup>\u00a0a form of embodied understanding\u00a0or proprioceptive relationship\u00a0to\u00a0what is\u00a0seen and felt.<\/p>\n\n\n\n With this\u00a0mise en abyme<\/em>\u00a0of the performing body, Choini\u00e8re neither seeks to underscore a question of identity \u2013 of the desiring machine, or the personal, sexual, cultural, political or cyborg body \u2013 nor to highlight dance movement\u00a0per se<\/em>. Again, what is at stake is the exposition and communication of a somatic perceptual experience akin to the Merleau-Pontian\u00a0\u00ab\u00a0corps propre<\/em>\u00a0\u00bb\u00a0(Merleau-Ponty, 1945)\u00a0(the body itself); here, articulated through an abstract choreographic textural language and the design of a spectatorial experience\u00a0moving away from an ocularcentrist perspective to rather summon bodily intelligence, or what\u00a0Erin Brannigan, in her book\u00a0Dance Film: Choreography and the Moving Image<\/em>\u00a0(2011), has referred to as\u00a0\u00ab\u00a0a model of corporeal experience that places the body at the site where the thrust of the actus meets its mark \u2013 where \u2018feelings\u2019 are registered that provide knowledge of the unnamed\u00a0\u00bb (Brannigan, 2011, p. 185).<\/p>\n\n\n\n Barely visible in a pool of light, a mass of flesh, formed by dancers whose limbs and torsos mingle and interweave, slowly evolves with micro-movements before rising to the standing position in an exploration of surrounding space. The entity’s presence radiates outwards\u00a0energetically,\u00a0attaining spectators by virtue of an act of\u00a0\u00ab\u00a0contamination\u00a0\u00bb4<\/sup>. Proximity to whispering, moaning bodies that are almost entirely naked, reinforced by the hall’s darkness and an aural environment in 360\u00b0 emitting both sound and vibrations, has the cumulative effect of piercing spectators’ intimate physical and psychological space and favouring a more direct contact and connection with action unfolding before them. Hypnotized and\u00a0\u00ab\u00a0touched\u00a0\u00bb\u00a0in the flesh, they can either respond by letting themselves be lulled by this invasive sensory\u00a0\u00ab\u00a0bath\u00a0\u00bb\u00a0or attempt to resist its effect.<\/p>\n\n\n\n Spectators are nonetheless caught within a play of mediated elements constituting an enveloping, multi-sensorial environment. For if Choini\u00e8re has chosen to place emphasis on the fleshly, both the body and time-space have dilated, resonating and vibrating in waves. More precisely, space itself becomes a medium or vector for extending and diffusing the body-subject as an all-encompassing environment. As a result, the affective, collective and experiential dimensions of live performance are magnified through the effects of mediation and immersion on perception. On the one hand, spatialized sound coming from all directions amplifies and projects the intimate body into space: that is, the murmurs, rustlings and groans of the dancers who themselves generate a sound score in real-time through their individual and collective voices, bodily contact and movement. As Italian researcher\u00a0Enrico Pitozzi\u00a0explains,<\/p>\n\n\n\n \u00ab The viewer is immersed in a continuous vibration, in a segment of sound as gesture, and it is on this scale of variations that attention should be placed (\u2026) This composition (\u2026) requires a synaesthetic mode of observing and listening, an active and contemporary relationship of the senses \u00bb (Pitozzi, 2010).<\/p>\n\n\n\n On the other hand, rather than prosaically referring to this type of mediation as interactive sound, Choini\u00e8re prefers to speak in terms of the creation of a\u00a0\u00ab\u00a0collective\u00a0carnal\u00a0body\u00a0\u00bb and a \u00ab\u00a0collective sound body\u00a0\u00bb, together forming a \u00ab\u00a0collective mediated body5<\/sup> \u00bb. Establishing\u00a0a continuum in time-space, comprised of the dancers’ gestures\/sounds and the spatialized aural environment \u2013 together producing the equivalent of an invisible sixth dancer with its own omnipresent dynamic, temporality and spatiality \u2013 this resonance extends to solicit and activate the somatic perception of spectators. A different performative mode and form of presence develops: for Choini\u00e8re, a model of\u00a0\u00ab\u00a0interfaced intercorporeality\u00a0\u00bb\u00a0(Choini\u00e8re, 2013).<\/p>\n\n\n\n Inspiration for the work derived from an eclectic and composite range of sources including Choini\u00e8re’s initial research into Indian cosmology, Cubism, the works of\u00a0Hans Bellmer\u00a0and the Brazilian martial-arts-dance form Capoeira,\u00a0all contributing to orient, shape and colour the work’s particular aesthetic and dynamic. However, the desire to create and test a model of interfaced intercorporeality was principally guided by her interest in the participative, experiential and multi-sensorial works of Brazilian artist\u00a0Lygia Clark\u00a0(1920-1988)\u00a0and, in particular, Clark’s advocacy of a dissolution of psycho-corporal boundaries and symbiotic intercommunication of bodies in\/with other bodies through art and therapy\u00a0(Brett, 2004). Emphasis on sensory perception, direct individual experience and a blurring of boundaries between the\u00a0internal\/external, subjective\/objective, individual\/collective\u00a0were thus essential aspects of Clark’s art and\u00a0are equally present in Choini\u00e8re’s\u00a0Flesh Waves<\/em>6<\/sup>.<\/p>\n\n\n\n A second influence, again Brazilian, came from the writings of psychoanalyst, art critic, curator and philosopherSuely Rolnik\u00a0and in particular, her theory of an inter-subjectivity of communication, elaborated after\u00a0Oswaldo de Andrade’s\u00a0concept of\u00a0\u00ab\u00a0canibalismo<\/em>\u00a0\u00bb\u00a0or\u00a0\u00ab\u00a0cultural cannibalism7<\/sup>\u00a0\u00bb\u00a0and her analysis of what she calls the animal-body (\u00ab\u00a0corpo-bicho<\/em>\u00a0\u00bb), the vibrating body (\u00ab\u00a0corpo-vibr\u00e1til<\/em>\u00a0\u00bb) and the egg-body (\u00ab\u00a0corpo-ovo<\/em>\u00a0\u00bb) in Lygia Clark’s work8<\/sup>. As Rolnik notes,\u00a0\u00ab\u00a0Birds and lions inhabit us, says Lygia \u2013 they are our animal-body. The vibratory body, sensitive to the effects of the movement of universal flows traversing us. The egg-body in which unknown intensive states germinate, provoked by new compositions that ebbs and flows make and break\u00a09<\/sup>\u00bb<\/em>. Remarking the inherent tension of these states, which she interprets as being capable of engendering\u00a0\u00ab\u00a0new forms of existence\u00a0\u00bb\u00a0and\u00a0\u00ab\u00a0a criterion for distinguishing modes of subjectivity\u00a0\u00bb,\u00a0Rolnik advances the possibility of inter-subjectivity when,\u00a0\u00ab\u00a0in the minimal point of materiality of the object, where there is nothing but the embodiment of transmutation that took place in its subjectivity (…) the object reaches its maximum power of contagion<\/em>10<\/sup>\u00a0\u00bb.<\/p>\n\n\n\n Contagion \u2013 or the contamination\u00a0of subjectivities by other subjectivities \u2013 is a vector of transformation for Clark. For Rolnik, it becomes a technique of survival in the context of an electronic world of deterritorialized subjectivities. Developing the notion of cultural cannibalism in tagion \u2013 or the contamination\u00a0of subjectivities by other subjectivities \u2013 is a vector of transformation for Clark. For Rolnik, it becomes a technique of survival in the context of an electronic world of deterritorialized subjectivities. Developing the notion of cultural cannibalism in\u00a0\u00ab\u00a0Anthropophagic Subjectivity\u00a0\u00bb (1998) and later, in\u00a0\u00ab\u00a0Molding a Contemporary Soul: The Empty-Full of Lygia Clark\u00a0\u00bb (1999),\u00a0she proposes a vision of contemporary reality as a collective state of vibrating intersubjectivity in which individuals\u00a0\u00ab\u00a0surf\u00a0(…)\u00a0an ocean of variable flow: fluctuating totalities, in a constant becoming, that each one (individual or group) builds up from the flows that touch its body and its selective filtration operated by desire11<\/sup>\u00bb. Contact with other vibrating bodies\u00a0\u00ab\u00a0mobilizes affects as changing as the variable multiplicity that constitutes otherness12<\/sup>\u00a0\u00bb. Their constellations form\u00a0\u00ab\u00a0a reality of sensations, corporeal reality, which, though invisible, is no less real than visible reality and its maps. It is the world composing itself over and over, uniquely, in the subjectivity of each person (…) inseparably linked: between me and the other, nonparallel becomings of each person are unleashed in an endless process13<\/sup>\u00a0\u00bb.\u00a0\u00a0<\/p>\n\n\n\n In her quest for a\u00a0performative form capable of expressing this interconnectivity and complexity, Choini\u00e8re explores these themes quite literally: through sensate bodies in intercommunication. As its title suggests,\u00a0Flesh Waves<\/em>\u00a0evolves to the rhythm of breaths, small movements and physical agitations which emanate from the mass of interconnected flesh and then extend outwards through mediation as vibrations \u2013 or flows of energy. Without mediation, the desired\u00a0\u00ab\u00a0communion\u00a0\u00bb\u00a0as a somatic-based exchange of energy and interdependent, experiential moment of subjectivity cannot occur. Effectively, the body in contact with technology becomes a mediated body; a hybrid entity transformed by the encounter of the proprioceptive body with technological exteroception that provokes a reorganization of the body’s habitual sensory mappings. For dancers and choreographers, technology not only constitutes a new working environment and laboratory of experimentation, but also, the means through which to access and develop new levels of proprioceptive awareness, skills \u2013 or techniques \u2013 and qualities of movement. In short, a new corporeality. This transformation and new\u00a0modus operandi<\/em>\u00a0forcibly exert their influence on the emerging choreographic form and its reception. Based on the premise that dancers can indeed generate and communicate a new interfaced corporeal experience, Choini\u00e8re’s model of an\u00a0\u00ab\u00a0interfaced intercorporeality\u00a0\u00bb takes on its full expression when extending to include spectators in a shared experience of mediated inter-subjective corporeality.<\/p>\n\n\n\n Tracing historical developments in dance of the past century and taking into account the body as a\u00a0\u00ab\u00a0dispositif \u00bb<\/em>(device), art critic\u00a0Bojana Kunst\u00a0remarks that the emancipation of the dancer’s voice and the expression of the body\u00a0\u00ab\u00a0from within\u00a0\u00bb\u00a0constitute two major contributions of twentieth-century dance. As she notes,<\/p>\n\n\n\n \u00ab It seems that 20th century body discovers (\u2026) the true power of the voice coming from within (\u2026) Not only is this kind of voice connected with the fact that the dancing body opens its mouth (and speaks out), but especially with the abolishment of the kinaesthetic hierarchy of movement, which stands for a different temporality and autonomy of the moving body (\u2026) The body listens to its own self (and at the same time, stands still rather than dances)14<\/sup> \u00bb<\/p>\n\n\n\n From pioneers like Duncan to postmodern dance, choreography was eventually freed from an outmoded vision of the silent dancing body locked into strictly observed canons of technique, vocabulary, aesthetic and form. It is not a coincidence that postmodern dance in particular, influenced as it was by emerging somatic practices of the day, was to incorporate an understanding of self and proprioceptive, kinesthetic experience via the training and choreographic approaches of artists such as Yvonne Rainer, Anna Halprin, Steve Paxton and Trisha Brown amongst others.<\/p>\n\n\n\n For Kunst, the body, or dare we say\u00a0\u00ab\u00a0the body itself\u00a0\u00a0\u00bb, becomes a site of discourse:<\/p>\n\n\n\n The invisible insides of the body seem to get externalized; only in this way are they exposed to the Other and its gaze. The resistance against language, the listening to one\u2019s own self and the establishment of the autonomy of movement also cut deeply into the traditional relationship with the observer as well as into the relationships of power in the dispositif of dance (\u2026) The discovery of the inner sonority of the body, of the autonomy and transmission of its voice seems to me that more intriguing. It is namely not only about an aesthetic strategy but can also be read in a wider sense \u2013 as a demand for the acquisition of voice, as an articulation of the body\u2019s audibility, or as a disclosure of the voice of a different corporeality (\u2026) The audibility of the body in contemporary dance and art is namely closely connected with the emancipatory stance towards the body and subjectivity and also extends to the field of the political15<\/sup>.<\/p>\n\n\n\n What is relevant for the present analysis is the potential for \u00ab a different corporeality \u00bb or, more precisely, different corporealities, to be expressed, along with the possibility of new relationships of the observer with dance. If contemporary dance was to initiate these changes, the advent of digital interfaces several decades later would propel choreographers to go a step further in pushing, blurring and sometimes eradicating boundaries between the inner\/outer body, dancer\/audience, creator-conceptor\/spectator via devices that tend to amplify, juxtapose, simulate and\/or directly engage dancers and spectators alike in new sensory-cognitive experiences.<\/p>\n\n\n\n Writing from a decidedly twenty-first century perspective,\u00a0Erin Manning\u00a0remarks that,<\/p>\n\n\n\n Sensing bodies in movement are open systems that reach toward one another seemingly, becoming through these relational matrices. As these bodies individuate relationally, they evolve beyond their ontologi\u00adcal status, becoming ontogenetic. Technogenesis is the dynamic becom\u00ading of the sensing body in movement (\u2026) It is tech\u00adnogenetic because it recomposes the body. This recomposition takes form through a multiplicity of techniques. For Simondon (1969), a tech\u00adnique is a technology of emergence (an ontogenetic technology or tech\u00adnogenesis) through which new complex systems are composed. These techniques can be thought as associated milieus of potential. Associated milieus are ecologies that emerge through the very technogenesis that gives them form (Manning, 2009, p. 66,71).<\/p>\n\n\n\n Tech\u00adnogenetic agencies \u2013 techniques, devices, networks and even theories \u2013 are indeed changing understandings and relationships to the body, but also\u00a0of\u00a0<\/em>the body, perception and the world at large. In the arts,\u00a0digital mediation has generated new aesthetic paradigms affecting representation, enunciation, narratology, composition and the reception of works, some of which have been alluded to in this article. As for evoking a particular\u00a0\u00ab\u00a0ecology\u00a0\u00bb of technogenisis, questions of affiliation, field, territory, relationship and resonance are necessarily raised by the emergence of new media practitioners, most often signified through a new digital logic, language and discourse.\u00a0While certain choreographers of\u00a0Choini\u00e8re’s\u00a0generation, constituting what is diversely dubbed as a field of\u00a0\u00ab\u00a0dance and technology\u00a0\u00bb,\u00a0\u00ab\u00a0digital dance\u00a0\u00bb or \u00ab\u00a0dance and new media\u00a0\u00bb, have adopted new media for expressly aesthetic motives and\/or scenographic enhancements alone, Choini\u00e8re has remained faithful to her roots as a dancer; that is to say, to the dancer’s accrued understanding of corporeality as a basis for artistic practice in general, and with technology, in particular.\u00a0From the outset of her career,\u00a0she\u00a0has defended Manning’s idea of a\u00a0\u00ab\u00a0dynamic becom\u00ading of the sensing body in movement [as it]\u00a0recomposes the body\u00a0\u00bb: through developing new modalities of choreographic expression, performativity and corporeal transformation linked with technology, and specifically, of technological mediation with respect to the proprioceptive body. Anchoring her approach in corporeality, while also exploring the creative potentialities of digital technology, she adopts an integrative approach that seeks to subvert\u00a0\u00ab\u00a0stage conventions, along with their sensory codes of reference, in order to reinvent together our common experience of the meeting place that is live theatre16<\/sup>\u00a0<\/em>\u00bb.<\/p>\n\n\n\n As the lights dimmed after the final moments of\u00a0Flesh Waves<\/em>, audience members sat motionless in silence for several minutes in the grip of this unusual form of transmission-communion. A Zen-like peace seemed to reign. Pointing towards the endless cycle of the movement of life and art in their respective permutations, might this configuration of sensitive, mediated and inter-connected bodies not be an auspicious sign of dance in the twenty-first century? Or what Rolnik refers to as\u00a0\u00ab a\u00a0new reality of sensations (…) a map for the future world that takes form in [the artist’s] work (…) Through the practice of art, a semiotic activity of human experience in its becomings, life affirms itself…\u00a0\u00bb (Rolnik, 1999).<\/p>\n\n\n\n [1] Helen Phillips,\u00a0\u00ab\u00a0Senses special: The feeling of color\u00a0\u00bb,\u00a0New Scientist<\/em>, no. 2484, (29 January 2005), p.40 :\u00a0\u00ab …\u00a0any idea that sensation depends on a particular sensory organ to capture information is under question\u00a0\u00bb.<\/p>\n\n\n\n [2] Maxine Sheets-Johnstone,\u00a0The Corporeal Turn: An Interdisciplinary Reader<\/em>, Exeter, Imprint Academic, 2009. Barbara Formis,\u00a0\u00ab La Pens\u00e9e du corps\u00a0\u00bb\/\u00ab Bodily Thinking \u00bb,\u00a0PENSER EN CORPS<\/em>,\u00a0Soma-esthetique, art et philosophie,<\/em>\u00a0Ed. Barbara Formis,\u00a0(Collection \u00ab L’Art en bref),\u00a0Paris, Ed. L’Harmattan, 2009, pp. 9-19.<\/p>\n\n\n\n [3] To paraphrase a description by choreographer-director Ali East speaking of a similar reception of her film\u00a0Soma<\/em>(2005), analysed in \u00ab Sensuous interfaces – Dancing Anima in Aotearoa New Zealand\u00a0\u00bb,\u00a0Somatics and technology,<\/em>a special issue of\u00a0Journal of Dance & Somatic Practices<\/em>, vol.5, no. 1, (Fall, 2013), Eds. Andrea Davidson and Sarah Rubidge, p. 67 :\u00a0\u00ab\u00a0It is an exercise in relational seeing that is received instantaneously as somatic affect by the viewer’s somatic sensibility\u00a0\u00bb.<\/p>\n\n\n\n [4] Isabelle Choini\u00e8re, op.cit. With this term, Choini\u00e8re makes reference to Brazilian artist H\u00e9lio Oiticica’s aesthetic of subversion and cultural contamination, later picked up by philosopher-art critic Suely Rolnik (see p. 5 and also note 20).<\/p>\n\n\n\n [5] Isabelle Choini\u00e8re,\u00a0\u00ab\u00a0To the modification of corporality that generates corporeality\u00a0<\/em>\u00a0\u00bb,\u00a0paper at the METABODY Media Embodiment T\u00e9khne and Bridges of Diversity Conference 2,\u00a0CYNETART Festival, Festspielhaus Hellerau, Dresden, Friday, Nov. 15th\u00a0\u00a0[accessed 15\/10\/2016].<\/p>\n\n\n\n [6] Clark actually called one of her post-Caminhando stages Fantasm\u00e1tica do corpo or Corpo-coletivo (The Collective-Body).\u00a0<\/p>\n\n\n\n [7] Suely Rolnik, \u00ab Anthropophagic Subjectivity \u00bb, Arte Contemporanea Brasileira Um e \/ between Outro\/s, Funda\u00e7\u00e3o Bienal de S\u00e3o Paulo, 1998. The original term was created by Oswaldo de Andrade in \u00ab O Manifesto Antrop\u00f3fago \u00bb \/\u00ab The Cannabilist Manifesto \u00bb), Revista de Antropofagia, (1928), English translation by Leslie Bary, 1991.<\/p>\n\n\n\n [8] Suely Rolnik,\u00a0\u00ab\u00a0Lygia Clark’s Hybrid\u00a0\u00bb\/\u00ab\u00a0L’hybride de Lygia Clark\u00a0\u00bb\u00a0(1997), \u00a0[accessed 14\/08\/14].\u00a0<\/p>\n\n\n\n [9] Ibid<\/em>.\u00a0\u00ab\u00a0Des oiseaux et des lions nous habitent, dit Lygia – ils sont notre corps-b\u00eate.<\/em>\u00a0Corps-vibratile, sensible aux effets du mouvement des flux des univers qui nous traversent.<\/em>\u00a0Corps-oeuf, dans lequel germent des \u00e9tats intensifs inconnus provoqu\u00e9s par les nouvelles compositions que les flux, se promenant de ci de l\u00e0, font et d\u00e9font<\/em>\u00bb.<\/em><\/p>\n\n\n\n [10] Ibid.<\/em> \u00ab De temps \u00e0 autre, la germination s’accumule \u00e0 tel point que le corps ne parvient plus \u00e0 s’exprimer en sa figure actuelle. C’est l’inqui\u00e9tude: la b\u00eate grogne, tr\u00e9pigne et finit par \u00eatre sacrifi\u00e9e; sa forme devient son suaire (…) Mais, par quoi exactement devrions-nous nous laisser prendre? Par la tension entre la figure actuelle du corps-b\u00eate qui insiste par force d’habitude, et les \u00e9tats intensifs qui s’y produisent irr\u00e9versiblement, exigeant la cr\u00e9ation d’une nouvelle figure (…) La capacit\u00e9 \u00e0 habiter cette tension, peut constituer un crit\u00e8re pour distinguer les modes de subjectivation. Un crit\u00e8re \u00e9thique, car fond\u00e9 sur l’expansion de la vie, celle-ci se produisant dans la production de diff\u00e9rences et dans leur affirmation de nouvelles formes d’existence \u00bb.<\/p>\n\n\n\n [11] Suely Rolnik,\u00a0\u00ab\u00a0Anthropophagic Subjectivity\u00a0\u00bb,\u00a0Arte Contemporanea Brasileira Um e \/ between Outro\/s<\/em>, Funda\u00e7\u00e3o Bienal de S\u00e3o Paulo, 1998.<\/p>\n\n\n\n [12] Suely Rolnik\u00a0\u00ab\u00a0Molding a Contemporary Soul: The Empty-Full of Lygia Clark\u00a0\u00bb, 1999,\u00a0\u00a0,[accessed 15\/01\/2016].<\/p>\n\n\n\n [13]\u00a0Ibid.<\/em><\/p>\n\n\n\n [14] Bojana Kunst,\u00a0\u00ab\u00a0The Voice of the Dancing Body\u00a0\u00bb,\u00a0Frakcija<\/em>, Zagreb, 2009.\u00a0 [accessed 15\/02\/2015].<\/p>\n\n\n\n [15]\u00a0Ibid.<\/em><\/p>\n\n\n\n [16] Isabelle Choin\u00e8re, unpublished project notes communicated in an interview with the author in July 2013.<\/p>\n\n\n\n \u2013 Begusch, Harald, \u00ab Shells that Matter. The Digital Body as Aesthetic\/Political Representation \u00bb,\u00a0Performance Research<\/em>, vol. 4, no<\/sup> 2, 1999, pp. 30-32, en ligne, <https:\/\/www.tandfonline.com\/doi\/abs\/10.1080\/13528165.1999.10871662?tab=permissions&scroll=top>. <\/p>\n\n\n\n \u2013 Brannigan, Erin, Dance Film: Choreography and the Moving Image<\/em>, New York, Oxford University Press Inc., 2011, 256 p. <\/p>\n\n\n\n \u2013 Brett, Guy,\u00a0Carnival of Perception: Selected Writings on Art<\/em>, London, Institute of International Visual Arts, 2004, 264 p. <\/p>\n\n\n\n \u2013 Choini\u00e8re, Isabelle,\u00a0\u00ab\u00a0For a methodology of transformation at the crossroads of technology and somatics: Becoming another…\u00a0\u00bb,\u00a0Somatics and technology,<\/em>\u00a0a special issue of\u00a0Journal of Dance & Somatic Practices<\/em>, vol. 5, no<\/sup> 1, 2013, p. 95-112, en ligne, <https:\/\/www.intellectbooks.com\/journals\/view-issue,id=2562\/>.<\/p>\n\n\n\n \u2013 Choin\u00e8re, Isabelle,\u00a0\u00ab\u00a0For a methodology of transformation at the crossroads of technology and somatics: Becoming another…\u00a0\u00bb,\u00a0Somatics and technology,<\/em>\u00a0a special issue of\u00a0Journal of Dance & Somatic Practices<\/em>, vol.5, no<\/sup> 1, 2013, pp. 95-112, en ligne, <https:\/\/www.intellectbooks.com\/journals\/view-issue,id=2562\/>.<\/p>\n\n\n\n \u2013 Manning, Erin,\u00a0Relationscapes: Movement, Art, Philosophy,\u00a0<\/em>Cambridge, MIT Press, 2009, 268 p. <\/p>\n\n\n\n \u2013 Merleau-Ponty, Maurice,\u00a0Ph\u00e9nom\u00e9nologie de la\u00a0Perception<\/em>\u00a0\/\u00a0Phenomenology of Perception<\/em>, Paris, Gallimard, 1945, 278 p. <\/p>\n\n\n\n \u2013 Pitozzi, Enrico, \u00ab Corpo sonoro collettivo. Verso una tattilita uditiva \u00bb \/ \u00ab The Collective Sound Body. Towards an auditory tactility \u00bb, Digimag<\/em>, no<\/sup> 51, f\u00e9vrier 2010.<\/p>\n\n\n\n \u2013 Rolnik,\u00a0Suely,\u00a0\u00ab\u00a0Molding a Contemporary Soul: The Empty-Full of Lygia Clark\u00a0\u00bb,\u00a0Caosmose<\/em>,\u00a01999, en ligne, <http:\/\/www.caosmose.net\/suelyrolnik\/pdf\/molding%20_john_nadine.pdf,>.<\/p>\n","protected":false},"excerpt":{"rendered":" In an increasingly digital world, it should come as no surprise that digital technologies have infiltrated the landscape of contemporary performance, redefining its practices and discourse, while proposing alternative approaches to performance-making and composition. The integration of technology in performance has moreover challenged the very notions of stage and representation, and, importantly for this article, … Continued<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[75],"acf":[],"_links":{"self":[{"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/posts\/1133"}],"collection":[{"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/comments?post=1133"}],"version-history":[{"count":2,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/posts\/1133\/revisions"}],"predecessor-version":[{"id":1140,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/posts\/1133\/revisions\/1140"}],"wp:attachment":[{"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/media?parent=1133"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/categories?post=1133"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/tags?post=1133"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/archee.uqam.ca\/wp-content\/uploads\/2022\/11\/andrea-2.jpeg\")
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Conclusion<\/h2>\n\n\n\n
Notes<\/h2>\n\n\n\n
Richard Shusterman,\u00a0\u00ab\u00a0PENSER EN CORPS, \u00c9duquer les sciences humaines : un appel pour la soma-esthetique \u00bb \/ \u00ab Thinking through the Body, Educating for the Humanities: A Plea for Somaesthetics \u00bb,\u00a0PENSER EN CORPS<\/em>,Soma-esthetique, art et philosophie,<\/em>\u00a0Ed.\u00a0Barbara Formis,\u00a0(Collection \u00ab L’Art en bref),\u00a0Paris, Ed. L’Harmattan, 2009, pp. 41-76.<\/p>\n\n\n\nBibliographie<\/h2>\n\n\n\n