top of page

Guide to correlative ideas - 2010

Practical-theoretical dialogue/interaction:

Fabiana Dultra Britto & Alejandro Ahmed.





A body is never a body on its own.


We think of the body as an array of singularities which is organized based on the concept of co-adaptation.


We think of the body as a transient synthesis of solutions that deals with the problems posed by its very existence.


We think of the body as field/place where a set of conditions enable different biological and cultural information organizational patterns.


Articulated by the movement within the field, information can provide coherence to the system – its internal symmetry.


Cena 11’s body is established by risky conditions, instability and reorganization that it is open up for.


A body that presents the evidence of co-authorship in the dance it performs.



Functions of the Body


The body assumes different functions in order to construct coherence within each environment proposed in every work.


Voodoo Body – it proposes the idea of violating the other’s perception using the voodoo doll as a metaphor where the doll is the dancer, the pins are the movements, and the target object of spell casting is the audience.


Failure as virtuosity – adaptability conditions is a body feature, and the efficiency in incorporating asymmetries as the organizational principal of its thinking and behavioral patterns, its virtuosity. Each body is a virtuoso of the movement patterns that its design allows it to explore.



Body functions



Subject/object body – causal spread in which the evidence of co-authorship is aesthetic material.


‘Thing’ body – it proposes the perception of a non-hierarchical relationship between the body and other things (objects, time and space) that acquire the status of co-author subjects within the situation created in such a relationship.


The subject of the action is not an individual, but instead it is an agentive function that spreads itself among the participating elements within the situation, suggesting a non-linear, distributed, causality with simultaneous and transient emphasis.


I, being ‘thing’: I do.

I, being ‘thing’: the movement attacks me.



Non-human Body


In a non-human appearance and non-human actions body, the flow between involvement, desire and strangeness makes the spectator an attentive creator of new possibilities of existence for human questions.


Humankind thought not as a natural characteristic of the human being, but as a symbolic and cultural category of its own corporeal experience.


Nature as culture. Corporality as aqcuisition. Perception as action.




Adaptability as a tool to produce design


Design resulting from the relationship between form and function.


The movement of the body is its adaptive resource to deal with the features of its context of existence.  Adaptability is a process that articulates corporeal design with the evolutionary function of its species (be it organic or cultural), thus, configuring new environmental, relational and body designs.


Moving, the body proposes the conditions for the continuity of that process.



Object, Technology


The use of objects and technology is associated with the idea that relationships, being co-adaptations, promote reciprocal modifications in the structure of things that are related.


Objects are considered resources to investigate the way their features provide adaptive challenges to the body and how that body responds to that challenge through its cognitive capabilities (sensory-motor skills).


Body materiality


Thinking body materiality by making explicit the way that the body organizes itself: transient synthesis of the solutions found to deal with the problems that are proposed by the relationships with other bodies/objects/situations.





Irreversibility as presupposition to create the notion of non-linear continuity which is expressed in narratives of processes organized by causal spread.


Time to apprehend time.


Time to organize structures – duration governing expectation control.




Sound as environment: a group of relational conditions for the body – of the one that dances and the one that watches the performance – creating ambience.

Musicality modulating the perception of materiality in spatial-temporal relations. Sound (action) activating the rules of a controlling game to conduct the composition of asymmetrical structures.







Clothes, skin, protection – camouflage, prosthetic devices. A body-costume-accessories continuum.


Extended body phenotype – body features reorganized under different configurations to be incorporated by its nature and to transform it and the way it can be observed.


Modification, extension, restriction and optimization features of actions.


Guide the audience through understanding the potential of appearance as a variable of connectivity and qualification adaptability, but also, simultaneously, as resulting from these processes.







bottom of page