As an experiential practice of somatic perception, dance digs into the living matter of what is scientifically currently recognized as the source of self-consciousness and of the thinking process, producing what is commonly referred to as ‘embodied knowledge’ or ‘embodied thinking’. What is the expression of such a mode of knowledge? How can it be transmitted to other fields of knowledge? Departing from proposing the artistic practice of dance as a technology of proprioception, this article explores a particular view of this issue by relating the dancer’s phenomenological experience with some contemporary theories of cognitive science. It develops the notion of ‘embodied knowledge’ not merely as the innate know-how of the bodily system to act and survive, but as sensorial awareness of such know-how. This intensified awareness opens up an experiential understanding of reality as an embodied motion condition, generating a distinct reasoning based on a transformative paradoxical value ground.
Embodying Sound is a performing art project that integrates dance, music and digital technology, it explores a real-time sonification of human motion, captured by inertial sensors, using the XSens system. First and foremost, it is not a demonstration of technical virtuosity, but an attempt to put technology at the service of imagination and creativity. In a world dominated by computation-tending to a dystopic future of "artificial intelligences" [1], we tend to forget that present-day machines cannot really think or feel; Computers do not have purposes, do not love or understand reality the way a living organism does [2]. In this presentation, we explore how technology can act as a mediator between dance and music. The quest of this performative process is to investigate the sound signature of the body. Here we discuss how such phenomenological experience might challenge self-consciousness and the perception of identity. Furthermore, within a more general approach, we question how does this artistic and technological interaction stimulate the expansion of artistic expression, which might result in new aesthetics.
O afeto é experienciado pelo bailarino em um nível energético básico: uma necessidade de respirar – inspirar o mundo no corpo e expirar o corpo no mundo. Neste movimento de afeto, o bailarino experiencia um processo de transformação corporal como necessidade vital. Este estudo confronta a percepção sensório-somática do afeto como força de movimento experienciada pela prática da dança, com o afeto compreendido como vínculo emocional entre indivíduos estudado por um campo da psicologia do desenvolvimento. Atribuindo voz ao conhecimento da dança e usando a teoria de Metáforas Cognitivas de Lakoff e Johnson, procura-se aprofundar a origem do sentido de afeto e compreender como ocorre a sua transferência de sentido entre a dança e a psicologia. Em ambos campos, o afeto revela-se como força de sobrevivência, porém, a dança compreende o afeto no nível pré-pessoal, como força da relação corpo-mundo, enquanto uma parte da psicologia do desenvolvimento entende o afeto no nível de necessidades de um corpo já subjetivado.
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