My goal with this essay is to go beyond a description of my dance and multimedia pieces, or of specific performances and to focus on the theoretical, philosophical and aesthetic implications of the kind of “hybrid” improvisational performances that I design and run as Unstablelandscape. The intention is to distill relevant characteristics of the human cognitive processes and compositional design strategies that I reframe as hyper-plastic embodiment, embodied systemic generativity and dynamic contingent design.
I argue that systems theory, cybernetic principles and computers have been integral influences on the creative processes of the artist since the 1950s and they have facilitated a dynamic perspective of the body and mind that has legitimized the insertion of improvisation as both compositional strategy and performance form.
I propose that dance improvisation and new media technology must adopt an actualized paradigm that takes into consideration new theories of cognition and embodiment, biological models of intelligence, emergence and complexity theories, and a post¬humanist perspective on our relation with techno-scientific discourses and representation about minds, bodies, dance and artificial systems.
I present relevant examples of the beginning of this trans-disciplinary research approach and new artistic practices and/or use digital technologies in their research methods.