Rooted in contemporary performance and sonic occurences we stage (in reponse to the pandemic, where live performances were not possible) a desktop performance exploring sustainable and destructive small acts. Through the lense of micro-phenomenology we ask, what choreo-ethics – the ideation proposed around enfleshed and negotiated ethics – mean today and how polylogue can emerge between organisms and their spheres. There occur various "alivenesses" and hybrid entanglements and we investigate the nanopolitical dimensions nested into choreo-ethical ecologies.
This collaborative research is grounded in the expanded field of contemporary performance and sonic occurrences, where we observe a shift from symbolic engravings towards investigations into heterotopic proliferations.
In a metaphorical sense, we explore atrophies (Vakatwucherungen), so far unnoticed (allegedly unfelt) micro-phenomenologies of sound and movement gestures through hesitations, alliterations, dubbing, repetition, deceleration and relate them to nano-political ethics. Between sustainable and destructive small acts we re-imagine how assemblages amidst noises and fragilities, regulations of proximity and distance emerge. Investigations seem timely into what choreo-ethics shaped by the material-discursivity and the choreographic – brings to reconsideration regarding the micro-phenomenology of encounters. Through micro-phenomenology (Claire Petitmengin et al, 2018) we probe the set-up of our artistic research on polylogics and diffractive methodologies. Attending to intra-action and staging hybrid narrations in a desktop performance, opens up a polylogue around the triad dare – care - share. Between a range of agencies: humans, things, plants – or in other words organisms and their spheres – various “alivenesses” occur. How to attend to the micro-phenomenology of hybrid entanglements and the nanopolitical dimensions nested into choreo-ethical ecologies? What are the wider implications of mediated body/object/space ethics? How to practice choreo-ethics and the “ethical subject” (Braidotti, 2006, p. 238)? The desktop performance with manual turntabling explores forms of encounters arising from post-anthropocentric artistic methods. The desktop performance is staged between files, folders and freshly carved wooden plates, performative actions, mashing up process documentations and text. Gestures interwoven with text collages interrogate impossible “ethical expertise” (Varela, 1992) and spin on.